film production process Quotes

The theater's a live thing, and film is, to some extent, a discipline where you're putting everything together and trying to execute something exactly. You do it away from people and then you present it at the end.

I was a journalist and wrote about filmmakers, but I didn't review movies per se.

Theatre is organic, film is not. Theatre you come every day and you work with a group of people and you're are all up for it and you all get to do the whole thing every night, be it two hours or three hours. In film you work in two or three minute bits and it's never in chronological order and then someone takes that away and makes it look like it all happened, or that you gave that performance.

I mean, Deadpool has a script, but it's a very complicated process to find the right filmmaker. We'll see.

My filmmaking background has really just been making movies with my friends since I was 12 years old. That's how I feel I learned how to tell a story visually, by just going out with a video camera and making movies with my friends and family.

As a means of supporting experiential element in film, once I begin to work on a particular movie I consider myself to be the tool of the director.

When you do a normal film, you play the character for three months and you say goodbye to him. And then, when you watch the movie, you say, "I wish I could have done that differently. I wish I could have added this to it."

It's very, very technical, what we do in film. While all of the lights are there and all of the crew members and directors are staring right at you, you have to be honest. It's a very difficult, but technical medium.

The main problem is that the Hollywood system has already made the film before the director shoots a single frame.

In writing scripts now, having made a film, I'm much more conscious of what it means to shoot and edit a movie, and that affects the writing.

Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.

I think the art of filmmaking is something you learn through actions, by doing it, not by learning theories. And as you do it, your mind starts to change.

One of the advantages of shooting digitally was that we had a lot of time. When you shoot, even if you do a good performance, it may get lost in the editing room. It's just one more way that a potentially good film might go astray.

Of course you're nervous, but we're really excited to be able to share what we're going to share. And it's cool, because what we're going to be doing, I think for fans especially, we think is really cool, because part of the process that most people don't ever get to see [is] that before these movies are movies starring photo-real apes, they're movies starring the image of Andy Serkis and the other actors, who are playing apes.

From film to film, I realize my strengths and my weakness, and I realize how much better I get. I learn the lingo, I ask questions and I'm on set trying to figure out which shots they're going to use. For me, it's exploring the art. It's not just making a movie.

People have a different idea of how movies are made than they really are. On a certain level, everyone throws ideas into the hopper. It's not like the actors are wind-up dolls that you push out onto the floor, play with, then put back in the box. You get people around you who you trust; the writer, the producer, the director and all the actors all contribute.

Most people don't really understand what it takes to get a film made, and the struggles .I think anyone who makes a film goes through their own set of struggles.

Modern animated movies are the products not of anyone’s individual vision, but rather a scattered accumulation of compromises made out of fear by members of large committees.

I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.

There's a lot of laughing on a horror movie set. They're magical in that way.

For most of my films, I've had to go out and start shooting before I could get the rest of the funding. That was the case with 'Hoop Dreams,' 'Stevie' and 'The Interrupters:' We started them quietly out of Kartemquin Films, only really going to funders once we had something to show and a firm idea of what the film might be.

I love movies. I can't participate in my love of movie-making fully unless I'm producing it.

When you are on the set, you have different departments - you got camera, sound, props, hair, makeup, catering, executives. Imagine each one of those are spokes on the wagon wheel. All the spokes come into a hub: the hub is the director. The wood the spokes go into are distribution and promotion; the steel wheel around the hub is the film. None of these have anything in common with each other.

You're never in control. That - that is the greatest fallacy of the - you know, there's over 200 people that it requires to make a film. And there's people who are in control of how you look, what your performance is, what takes are used, what - you're only in control of how you say no.

There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.