Filmmaking Opportunities Quotes

As a film-maker, it's only natural to feel happy about new possibilities opening up.

I started movies in 1980. I don't think anything's changed for the best. When it comes down to certain technologies and certain things that have afforded more people to maybe have a shot at making a movie or something like that, that's good. But you also end up with 50,000 times the amount of bad movies, because now anybody can make a bad movie.

All I want is the same opportunities as the filmmakers I grew up admiring. But you know, I've had lots of amazing opportunities to do the movies I wanted to do. If I could write my future, I'd want to keep making character-based films that can make use of my voice as a filmmaker.

For me, the Sundance Institute is just an extension of something I believed in, which is creating a mechanism for new voices to have a place to develop and be heard.

I think it's a total fallacy for people to say, "You couldn't make those old movies today." I think there's more ways to get a movie made today than ever in the history of the entertainment industry. It's a very exciting time to work in movies, if you're a creative person looking to make a very personal, weird vision.

In the world of independent filmmaking, you're never quite sure what's happening when and where.

Even in Indian cinema, there is so much work that I have accepted because I'm comfortable and so much I have declined because I haven't been comfortable.

It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.

Before, I just don't think we knew how much music was out there; now with MySpace, it's really opened it up. Filmmakers have so much more choice.

I live in New York, but I am always delighted to come to Europe because I am European and grew up here until I was 20. I am not only Italian, I am partly Swedish. When my parents divorced, I was three years old and went to live in Paris... when I am offered a film in Europe, I come with great enthusiasm!

When you have the chance to work with Wes Anderson, with Stephen Frears and Chris Weitz and Roman Polanski and Terrance Malick you don't say no.

Post-'Sonu Ke Titu Ki Sweety,' now there are more opportunities for me in terms of films. I'm getting offers from the makers I always wanted to work with.

Showtime has given new, young filmmakers - black, white, across the board - an opportunity to make films, as well as actors who want to cross over into directing.

The traditional Hollywood system is pretty rigid, but the film scene in, say, South Africa is booming with a lot of possibilities. If you have the cameras and reasonable capital, you can put your film in theatres next to 'Guardians of the Galaxy.' A great example of that was Kagiso Lediga's film 'Blitz Patrole.'

It's so nice that there's all this new space for new, good content. It's good news for us actors, since nobody makes real independent films anymore.

I got picked for very unique and independent filmmaking experiences with auteurs. And I'm so lucky.

I'd love to find a small movie that someone would sign off on me to do. I have no aspirations to do a big studio film because I don't think anyone would let me.

I did 'Red Riding,' which is TV in the U.K. It became a feature project in North America, but we're in a great era of TV. We all know that, and we hear it all the time, but for filmmakers, it's just a godsend to have your television writing and work to do on television, and the means to do it properly.

It's so tough to get movies made in Ireland anymore. A whole generation of Irish filmmakers doesn't have the resources to get a movie made.

There are many people who want to make movies and very few opportunities for them to do it. I had a checkered early career with a lot of very unhappy experiences where pictures got taken away, re-cut, re-titled... all the nightmares one hears about. Consequently, it's so gratifying to then make a picture that's successful and gives you leverage to have better circumstances than you've ever had, before the next time out.

I say to first time filmmakers that when they're asked, they should go to America as you're far more likely to get a chance.

I look for us - people of color in Hollywood, to create more stories as writers, directors and filmmakers, creating more opportunities for ethnic actors. At the end of the day, we have to be the ones giving jobs and telling the stories, not just waiting to be hired.

Real to Reel is a rare opportunity for new filmmakers to screen their work for industry insiders.

Filmmakers now have the freedom to create the type of movie they want. More screenwriters, directors, and producers now have the chance to see their words on screen now that VOD and streaming outlets are available. Overall, it's a good thing for filmmaking and documentarians.

When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.