filmmaking

I think everything that you do, you're learning. I mean, every movie that you make is like a film school; that's one of the things that I enjoy about filmmaking.

I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.

The only job that was ever of interest to me other than filmmaking is architecture.

I got into filmmaking in order to tell very personal stories, and in this day and age, the opportunity seems all the more precious.

I really took filmmaking very seriously... It was an honor and then a crutch also, because at a young age, I was like, I guess I'm a serious filmmaker. I never set out to be a serious filmmaker. I just set out to make movies.

I wasn't a kid who moved out from Iowa with aspirations of becoming a famous star - I was intrigued by the idea of filmmaking and by the idea of what it would be like to play a character in a movie.

A big part of filmmaking is gathering a group of people you can work with.

If you take a regular animated film, that's being done by animators on computers, so the filmmaking is a fairly technical process.

The filmmaking process is a very personal one to me, I mean it really is a personal kind of communication. It's not as though its a study of fear or any of that stuff.

Collaborating on a film script involves two people sitting in a room separated by the silence of two minds working together.

Filmmaking isn__ if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it__ about. It__ not just about getting a performance. It__ also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.

The score is in your subconscious. Sit down long enough at a keyboard and it will come out.

The function of camera movement is to assist the storytelling. That's all it is. It cannot be there just to demonstrate itself.

The varying physical characteristics of the actors may also necessitate changes. Sean Connery is six feet four. Dustin Hoffman isn't.

In order to get [Mean Streets] made I had to learn how to make a movie," says Scorsese. "I didn't learn how to make a movie in film school. What you learned in film school was to express yourself with pictures and sound. But learning to make a movie is totally different.

... the midpoint of each film is the moment when each protagonist embraces for the first time the quality they will need to become complete and finish their story. It's when they discover a truth about themselves.

The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way.Against the tactics of speed, of noise, set tactics of slowness, of silence.

In drama, the characters should determine the story. In melodrama, the story determines the characters.