If there isn't a deep core reason for a film existing, what is the point? For me to be known as a filmmaker that makes films that have a point, I'm stoked.
Aristotle wrote the 'Poetics' 2,400 years ago. It's really an instruction manual for aspiring filmmakers. It's as valid today as it was then.
My experience of test screenings is that you don't know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says - and this guy could just be a frustrated filmmaker, or not paying attention.
I just want to keep doing things completely different from the other. I just want to keep working with great people, great filmmakers and great actors and just building on that experience.
I learn so much from watching films like that with commentary and then when you get to hear another filmmaker talk about their films it's a really great experience.
What I want to do with my filmmaking is help kids experience the truth and wisdom of nature no matter where they are, whether or not they have the opportunity to go to a national park.
I am much more involved in the filmmaking experience on Mag Seven. I'm much more involved in story elements, casting decisions, the writing of the show, the blocking of the scenes.
I always wanted to be a feature filmmaker and tried to treat that experience as some sort of elite film school where I could learn the craft, and got paid to learn the craft.
I am a filmmaker. That is all I've ever been. You know, Martin Scorsese makes films about the mob. And I make movies about food.
It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.
Working with HBO was an opportunity to experience creative freedom and 'long-form development' that filmmakers didn't have a chance to do before the emergence of shows like 'The Sopranos.'
I already have legitimacy as a filmmaker and now I'm trying to do stuff that's just fun. Until I find a cool tangible subject again that I want to tackle.
My home is Montreal. I will stay in Montreal and continue to make movies in Montreal. But it's also very healthy for Canadian filmmakers to work outside the country. You learn so much.
A lot of filmmakers from my generation were lucky enough to have their work more or less perpetuated by people who saw them originally on TV and on HBO and certainly on home video.
I hope that all new filmmakers see that the Internet and social media are helpful tools in establishing a fan base as well as being able to interact with your fans.
Great actors like Willem Dafoe and Ellen Page and Samuel L. Jackson will go and do a videogame, because they understand that storytelling isn't just necessarily about filmmaking.
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 would like to hook up with one of the great Japanese filmmakers, like the master that made 'Ringu,' and I would like to take 'The Wicker Man' to Japan, except this time he's a ghost.
The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.
I started out doing music videos and photography, and I always loved writing. Filmmaking seemed to be a good compilation of all these skills in a way that allowed me to tell a story 'greater than the sum of its parts.'
In Europe, there are many filmmakers working in the same territory: immigration, and the things that are most disruptive to European life today. That's not a judgment. I think it's good that cinema looks at such things.
