Filmmaker Identity Quotes

I live in New York City, the stories of my films take place in New York; I'm a New York filmmaker.

In a weird way, I never wanted - I don't consider myself a very good writer. I consider myself okay; I don't consider myself great. There's Woody Allen and Aaron Sorkin. There's Quentin Tarantino. I'm not ever gonna be on that level. But I do consider myself a good filmmaker.

I'll always see myself as a British filmmaker, powerfully so.

I'm a film director. Gay is an adjective that I certainly am, but I don't know that it's my first one. I think if you're just a gay filmmaker, you get pigeonholed just like if you say I'm a black filmmaker, I'm a Spanish filmmaker, I'm a whatever.

I think I'm still trying to find my voice as a filmmaker and finding stories to tell.

I am not a director or a writer, but a filmmaker.

I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.

When I was a young filmmaker starting out, I was really snobby about all the affirmative action for women filmmakers because I felt it should be about your talent, and I made a film that won awards, and people wanted me.

Hong Kong people, they treat me more like a director, like a producer, like a filmmaker. If they recognize me, they treat me as a producer more than a star. And also, I make one movie in three years. I think they already forget who I am, because I've been away too long!

I consider myself an independent filmmaker.

By the time I finished 'Poison,' the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.

I couldn't sleep one night and I was sitting in my office and I realized that I was an independent filmmaker.

Usually, with me, the project is always the second thing. The film-maker comes first. Films grow out of the relationship.

I think the thing about film is, as it gets proved by a lot of young filmmakers now, that the medium will just go on reinventing itself, and so you just hope to be a part of that and not a part of some kind of endless regurgitation or 'Here I am doing what you know I do' kind of thing.

I'm not going to be labeled a black filmmaker. I am not here to just tell black stories. I'm here to tell all kinds of stories, musicals and dramas.

I don't think I'm all that twisted in my life. I'm not like some tattooed filmmaker who, you know, hangs out on the Lower East Side and is part of some satanic cult or something.

As a filmmaker, if your personality is not reflected in your movies, then what are you doing, why are you making films?

I'm not a writer, although, as a filmmaker, you are an author in a certain way.

My defining moment was when I finally went to Cannes and saw my name along with international filmmakers.

I didn't want to be known as a man who only made horror films. I made some - very few.

I am a mere filmmaker. I am not even aligned to any political party. I vote for the Congress party, and I root for the Congress ideology, but I am not subject to the Congress party.

Like a lot of people my age, I grew up on Amblin movies. They're a part of who I am as a filmmaker and, arguably, as a person.

I'd love to just think of myself as a filmmaker, and I wait for the day when the modifier can be a moot point.

I could not - and I still cannot - see a sustainable career as a filmmaker in which I focus fully on our gay stories.

Well I don't think of myself as like a horror or science fiction filmmaker. I just think of myself as a filmmaker.