Experimental Filmmaking Quotes

I definitely think independent film is very exciting, and you get to sometimes take bigger risks. So that's always a challenge and something that I look forward to.

I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.

I'd come into filmmaking as a painter so, for me, making 'Good Will Hunting' was experimental because I didn't know how to do it.

I don't know if 'Crash' is a good movie or not because I didn't set out to make a movie. Really, what I wanted to do is more of a social experiment.

I think you do independent movies because you're looking to cut away from commercial movies.

Independent films are where you really get to cut your teeth and have some fun and do the things that mainstream Hollywood doesn't want to do.

It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.

The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last penny into it and not let themselves be taken in by the material routines of the trade.

I've always looked forward to do something different in all my films.

I'd love to work with David Lynch. I'm such a big fan. He's a genius.

Wong Kar-Wai is a really great inspiration. He's always referred to as the Jimi Hendrix of filmmaking.

Making the 'Sulfur' video continued our quest to make a video different and visually stimulating.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

I went to film school, and I came in when video art was king, weird stuff was king, and there, you don't have a script as your bible.

There is no right or wrong angle for something. The idea of putting the camera in an unfamiliar position is simply to do with film language. Sometimes it is spectacular, sometimes it is ugly, sometimes it is uninteresting.

I just wanted to work with David Lynch.

I really am passionate about making low-budget movies. You can try new stuff and unusual stuff, and you can break the rules.

('Eraserhead') may seem like a dark film, but my father and I watch it, and all we do is laugh. It was Disneyland everyday on the set. That's when I fell in love with film.

I remember films I made at university, which are unbelievably pretentious. Poetry that I'd written that I delivered to camera, against a Venetian blind, strong shadows, looking slightly off-camera.

I didn't have the sensibilities of your ordinary filmmaker, let alone your ordinary African-American filmmaker. My heroes were John Waters, Pedro Almodovar, and actors that were part of that world.

What's very funny is when you see amateurs filming something, they do some things no professionals would dare to do. They instinctively do things that are very avant-garde and useful.

I didn't have any set idea of what kind of filmmaker I wanted to be. I knew I wanted to tell stories that meant something to me, but I never said I was going to be the weird, avant-garde guy.

What's great about documentary, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of 'documentary.'

I was free always. I could work without the money, to film this and that. But this is another point, because now I'm alone, and I can just use it when I want. I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.

When my films don't work it's usually because I tried some very experimental idea. I tried new ideas and they just didn't work, as opposed to trying to do something conventional and having it be so conventional nobody wanted to see it.