There are many documentary filmmakers who have a tough time because they don't really get what they need to do what they want. There are so many people with good visions that should be encouraged and helped. And they will deliver, I'm sure.
I don't think it's the job of filmmakers to give anybody answers. I do think, though, that a good film makes you ask questions of yourself as you leave the theatre.
As a writer, or as a filmmaker, you have to present yourself, and part of what yourself is is what you're interested in, or what you think is funny, or what you think is sad, or what you think is horrible.
Films don't decide my whole life. They are just a part of who I am. What I do in my personal life should be of no concern to the filmmakers or the fans.
The problem with feature filmmaking is that it offers you this mirage of being able to achieve perfection, as the theory of it is that you have control of every part of the film, though in reality, it is as inexact as the next thing in your life.
'Rocket Science' is really where I fell in love with filmmaking, I think 'Camp' was incredible, but it was so bizarre, and I was trying to find my footing in this world where you don't have an audience for immediate validation.
I'm a big fan of movies, but I'm a bigger fan of filmmaking itself. I fell in love with it when I was very young, and I have always loved to learn the craft, every aspect of it.
I love the grandiosity of Hollywood movies, and even in independents, I love the canvas you can tell your story on. I love fiction filmmaking, you really feel like you're creating something.
One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.
I could not - and I still cannot - see a sustainable career as a filmmaker in which I focus fully on our gay stories.
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.
The biggest thing people tell me is that I'll be jaded real soon and that the allure of filmmaking will lose its magic. Not necessarily the fame, but that special thing you create onscreen.
Woody is so musical in his filmmaking. I've never worked with anyone I've trusted so completely. He won't let you hit a false note.
I'm not under too much of an illusion of how smart or un-smart I am because filmmaking ultimately is about teamwork.
I consider my job as a screenwriter to pack a script with possibilities and ideas - to create a feast for the filmmaker to pick from.
I even agree with the new digital ways of filmmaking, where you don't even have physical film in the camera, but to be honest, I wouldn't want to use it.
As filmmakers, we can show where a person's mind goes, as opposed to theater, which is more to sit back and watch it.
You want somebody who's capable of being diverse in the characters they play, and you want a big name that's going to bring attention to the filmmakers and to the project.
I admire a lot of Spanish filmmakers and actors. I grew up watching a lot of Spanish films and novellas, and there's just so much talent out there.
I think the most satisfying part about filmmaking is seeing a production in full bloom. When I write, I write in isolation.
The '80s were a time of technical wonder in filmmaking; unfortunately, some colleges didn't integrate their film and theater departments - so you had actors who were afraid of the camera, and directors who couldn't talk to the actors.
