I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
I thought I was going to be a filmmaker but at the same time I was an intellectual and I felt that I could make a contribution to some field, as yet, not invented.
I just trust the director and never overanalyse the script, screenplay, etc. You are just taking a bet at the end of the day, so confidence, be it on the filmmaker or the script, is all that counts.
I prefer the smaller budget versus the bigger budget because the mentality that goes along with big budget filmmaking doesn't really suit me; the mind-set that money is the answer.
Whereas money is a means to an end for a filmmaker, to the corporate mind money is the end. Right now, I think independent film is very confused, because there's excess pressure in the marketplace for entertainment to pay off.
Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers, novelists, playwrights, painters have been examining for a long time.
There's something I really love about independent filmmaking. Everyone is a little bit more close-knit, and you rely on people a little bit more. The bigger the budget gets, the more everyone toes the line in their department.
I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.
Some men don't gel when it comes to work - you have different work ethics, different opinions, different points of views, different methods of filmmaking - and we didn't gel.
I saw 'A Clockwork Orange' when I was 11. When you watch 'Clockwork Orange' at 11, it either totally scares you from watching movies, or you want to become a filmmaker. I was the latter.
I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.
I never set out to build some behemoth comedy career. My taste in movies is far more eclectic than that so my aspirations as a filmmaker are far more eclectic than that.
I'm not one of those actors where filmmakers that I admire ask me to be in their movies. I meet them at parties and they're nice to me, but they never ask me to work with them.
In movies, there are some things the French do that Americans are increasingly incapable of doing. One is honoring the complexities of youth. It's a quiet, difficult undertaking, requiring subtlety in a filmmaker and perception and patience from us.
Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.
I think for female filmmakers a big issue is making their second and third films.
I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
That's easy to answer: I never had any special appetite for filmmaking, but you have to make a living and it is miraculous to earn a living working in film.
I mean, frankly, I'm not speaking as a representative of Disney or Pixar, I'm speaking as just myself as a filmmaker: I don't go into anything that often thinking about a sequel.
I think you could go back to any filmmaker or musician or artist, and look at what their input was in their formative years, and you could trace all the lines.
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
