Filmmaking Industry Quotes

I'd love to direct, and I think I'd be a great director, but... I've been approved by the studio to direct, which I think is a cool jump of faith for them. Or proof that they're really stupid. But I don't think so.

Not many people get that chance to have multiple studios wanting you to make a movie with them.

I will never win an Oscar, and do you know why? First of all, because I'm not Jewish. Secondly, I make too much money for all those old farts in the Academy.

I would love to act in Bengali movies, but the work culture here is pathetic.

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

Everybody's a filmmaker today.

I knew I needed to make a studio film - not for any financial reason, but because, as a filmmaker, and especially as a female filmmaker, you have to break through the glass ceiling.

Filming in London is brilliant.

I don't find myself lobbying for projects. Filmmakers almost always come to me.

It took me three, four years, to get from my first film to my second film, banging on doors, trying to get people to give me a chance. Writing, struggling, with no money in the bank, working as an editor on the side. Working as a cameraman on the side. Getting little jobs, eking out a living. Trying to stay alive, and pushing a script that nobody wanted.

We need children to play the parts in movies. I'm just glad it's not my kids.

I'd like to see a day when we're less obsessed with stars and give due credit to everyone who is involved in the process of filmmaking and a change in the obsession with fair skin.

I have, obviously, a very complex relationship with the more industrial side of filmmaking and the machinery that can take an actor or an actress and create something so bamboozling and monumental and fathomless in terms of publicity hits.

Making movies is eating candy. It's a very expensive candy, so you value when you can do it. So when you can do it twice at once, it's like, you know, a kid in a candy store!

When you're on an independent film, you have a lot of great people there who are telling really true and authentic stories. But you also have a lot of con artists and people who think they can do something that they can't.

I wrote 'Thelma & Louise' in 1988, and we shot it in 1990. Everyone kept saying, 'This is so groundbreaking... this is going to change the landscape,' but I don't see that result at all. When we saw some female studio executives, we were hopeful that more women would be hired as directors, but that didn't really seem to happen.

Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.

When I wanted to become a filmmaker, there was nobody for me to look up to.

It's a new business for me to be a filmmaker.

I make movies for money, exclusively for money.

I'm not a producer and I don't even know the places my producer goes to, thankfully.

The biggest problem with the independent film sector in Toronto is that they find themselves having to make that budget show on screen.

I can work with both the old, revered filmmakers and new directors. It is amazing how they see me in their world, and then I adapt accordingly.

In the 10 years that I've been a professional filmmaker, the film part of the film industry is really disappearing, right in front of our eyes.

I'd really love to watch David Lynch work, to be a fly on the wall.