I love that first-time feeling that I can't build in myself anymore, where I can learn and emulate other filmmakers. Be it Ayan Mukherjee, Punit Mahotra, Karan Malhotra, Tarun Mansukhani or Shakun Batra, all of them have taught me something or the ot...
You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are ...
The big studio era is from the coming of sound until 1950, until I came in... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.
In the last ten years of watching films I have found that some of the foreign films I saw affected me most. One American film that stands out for me for its workmanship and artistry is 'Ratatouille.' It was an astonishing effort in filmmaking.
I'm transitioning to television and film, but ultimately, I want to have a stronger presence on the web and be able to curate the content that I want to see. To bring attention to other filmmakers and writers.
There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this there's certainly a kind of avant-garde, abstract, existential element to it.
Some people think that horror films are some sort of second class filmmaking, and the only way to bypass that thinking is being proud of the fact that we do it.
It's more like can I build a group of characters and can I tell some universal truths that feel real and aren't formulaic in the spirit of filmmakers gone by who've told American stories that were personal and universal as well.
Here's the thing that people don't understand: I don't really care. I've never been a careerist. It's not a strategy. I react to certain characters and story lines and specific mode of filmmaking.
It's the same old story. Nothing in this world happens unless white folks says it happens. And therein lies the problem of being a professional black storyteller - writer, musician, filmmaker.
In 1962, we created the Filmmakers' Co-Op because nobody wanted to distribute our films. If we had the Internet in those days, we wouldn't have needed the Co-Op.
Filmmaking is finding a piece of granite and you start to chip away and then you have the shape of a head, the shape of the arm, you can see the shape of the face and the face starts to gather character. You have to find it.
In pre-school, I was drawing dinosaurs - I was huge into dinosaurs. I wanted to be a paleontologist, not a cartoonist or a filmmaker or anything like that - just a paleontologist. So I would draw dinosaurs.
I can always tell when a filmmaker doesn't care about his or her characters; they just care about setting them up to kill them off.
One of the things I've learned as a filmmaker is to have some aspect of the movie be something that I admire greatly, whether that's an actor I'm working with, the subject matter, or a book.
As a filmmaker, I'm very collaborative. I don't pretend to know everything that is needed to make a movie. What I like to do is get together with a group of people, starting with developing the story and bounce around ideas.
I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.
I think I'm always conscious of not letting things fit into a specific box. Being a filmmaker and trying to chart a career, you never want anyone to be able to pigeonhole you into one specific thing.
I'd love for there to be a situation - a world in which that's just not even a question anymore. We are all filmmakers - different stripes, genders, sexual orientations, colors - and our work can be taken on its own terms. I'm really looking forward ...
I love my work, apart from when it's driving me crazy. But I get to be interested in stuff and think like a filmmaker as I'm buzzing about the world and then see an opportunity to make a film, and then make it happen.
The nature of the video camera really makes you focus on the present. Since I have always been a diarist filmmaker, not one who stages scenes with actors, it has always been about the present moment.
