I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.
When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?
If I've seen the movie, it means it's an influence on my own filmmaking. Every movie has a reflection in 'Night Watch.'
I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.
What I think happens today is that a lot of filmmakers look at other films that are retro pieces, like L.A. Confidential, and say, oh, that's period. We didn't want to do the stereotypical stuff.
When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
The one thing I'm proud of as a filmmaker is that people are entitled not to like my films - that's the privilege of the public - but I think I have my own imprint.
I will say that comic books are not the easiest things to translate to film, number one. Even the most well meaning of filmmakers find what's acceptable on the printed page is very difficult to bring to film.
Blu-ray and the technologies emerging around it are the premiere format for reproducing what we do as filmmakers. There's more space on the disc, more bit rate.
Early 1900s Hollywood was full of farmers battling to hold onto their land against a new influx of filmmakers who dug Hollywood's reliable weather and diverse landscape.
I do believe that there are auteurs, in the sense that there are filmmakers with very strong voices and their voices are communicated on to the screen without a lot of compromise.
Adaptations are fun for me because they connect to the idea of filmmaking I had when I was a kid. I would see a movie and think: 'I'm gonna make that movie.'
I really don't feel like I'm in any kind of contest. Except, maybe, with myself. Just want to learn and create and grow. Get better all the time with these filmmaking tools. I don't expect perfection from myself. Just progress.
People want to know if I have a moral standpoint that they should be picking up on, and the truth is, I don't. I don't want people to think that I'm trying to tell them to feel a certain way. I think that's cheap filmmaking.
I think there's not a lot of real filmmakers. There are only a few people who make real cinema. I can count them on my fingers.
It's nice being friends over a period of time with people whose music you like so much, or other filmmakers, seeing people change, go through trials.
You have these relationships with people that you care about, but I also try to stick to my job as filmmaker and be fair and truthful about what I saw and my experience of the people, hopefully informed by a deep understanding of them.
Intuition is the key to everything, in painting, filmmaking, business - everything. I think you could have an intellectual ability, but if you can sharpen your intuition, which they say is emotion and intellect joining together, then a knowingness oc...
Film making is an expensive, as well as a serious business. We should be able to entertain our audiences, who are fully aware of what they want. Every filmmaker has a different point of view and presents facets of society.
A government institution called the Finnish Film Foundation funds filmmaking there, and I wrote several screenplays but never got any money. They were sent back to me, and they said that they were too commercial for them.
A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.
