I definitely think for up and coming filmmakers, people graduating from film school, people that want to do their own movies, horror movies are a great way to go.
I was out in L.A. and I had gone to film school and I was out here for a couple of years. For a lot of years, I was bartending and having a good time.
I conveniently was not accepted to film school, which I applied to in 1987, and so I decided I would become a filmmaker instead of a student.
No more bare bodies in film scenes for me. For my children's sake, I must stop. The other kids at school keep throwing it up to my children, and they are not kind.
It can take a long time for some people to find out how to ground themselves, and film sets are an odd atmosphere to do it in - especially if, like me, you finished school early.
I am really not of the school of naturalism. I like style, and you can use more style in theater than in film roles. I love to sink my teeth into a part.
I feel like a lot of my past career was going to film school, making a lot of different kinds of movies. I made a bunch of comedies, I made one drama and I made a couple musicals.
The informing idea of what you want to say and do, that's what will take you from film school to professional - the idea. That's what is original to you.
For the three years I was in school training to be an actor, I was told, 'It's very unlikely you'll work at all on the stage or in film', so I feel I have to take all the opportunities I can.
I think at the age I'm at, it's really hard for a film career, and I'm at a point in my life where I thought it would be a good idea to be a part of a good show and to be able to finish school.
It is gorgeously shot, and Andrew believes that the old school way of making films in the best way. Meaning: you have a story, and you stick to the story. You don't change and alter the story because of people who've invested in it and what to put pr...
I was always writing scripts, and I had made several shorts, before and after film school. But I worked a variety of temp positions over the years.
After studying in Sheffield, I went down to London to do my post-graduate degree at the National Film and Television School, embarking on the movie that would eventually become 'A Grand Day Out.'
I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.
Now, after the communist take-over in 1948, the amount of feature films produced dwindled to three a year, while the school was, you know, every year another three, four, five students.
I went to film school, so I certainly know how to make things quickly and cheaply. But at the same time, I have the experience of working with Steve Starkey for three years. I watched him produce some gigantic movies.
The thing that helped me get into the film business was that I went to school in Athens, Georgia and managed to get on, um, working on music videos for a band called R.E.M. and that kind of opened up a lot of doors for me.
I sort of jumped out of movies and into the lifeboat of comics. I loved it right away. It was the opposite of film school. Whatever was in my imagination could end up in the finished product. There were just no limitations.
There's a great deal of women in film school. I was not the only woman in my class at UCLA. When I went through the Sundance program, it was half women and half men.
There was a year between school and getting going as an actor when I basically just watched films. Video shops were the new thing, and there was a good one round the corner and me and my brother just watched everything, from the horror to the Europea...
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut th...
