Filmmaking quotes

    Sourced quotes only — no fabricated attributions. Each quote links to its filmmaker page. Collection labels reflect how quotes were filed in our library, not verified job titles.

    Showing 120 of 960 quotes.

    • “Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you’re a director. Everything after that you’re just negotiating your budget and your fee.”
    • “When given an opportunity, deliver excellence and never quit.”
    • “The saddest journey in the world is the one that follows a precise itinerary. Then you’re not a traveler. You’re a f@@king tourist.”
    • “We don’t make movies to make money, we make money to make more movies.”
    • “Film is, to me, just unimportant. But people are very important.”
    • “Let me just pause a minute and drink in this moment. And if you film it, I’ll be able to get free refills for life.”
    • “Cinema is a matter of what’s in the frame and what’s out.”
      — Martin ScorseseDirectingCinema
    • “There are no rules in filmmaking. Only sins. And the cardinal sin is dullness.”
    • “The characters in my films try to live honestly and make the most of the lives they’ve been given. I believe you must live honestly and develop your abilities to the full. People who do this are the real heroes.”
    • “If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender, and I refuse to stop making movies.”
    • “A story should have a beginning, a middle, and an end… but not necessarily in that order.”
    • “A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.”
    • “The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know.”
    • “Although I write screenplays, I don’t think I’m a good writer.”
    • “A lot of times you get credit for stuff in your movie that you didn’t intend to be there.”
      — Spike LeeDirecting
    • “People say I pay too much attention to the look of a movie but for God’s sake, I’m not producing a Radio 4 Play for Today, I’m making a movie that people are going to look at.”
    • “I think audiences get too comfortable and familiar in today’s movies. They believe everything they’re hearing and seeing. I like to shake that up.”
    • “For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.”
    • “A film is a petrified fountain of thought.”
    • “My idea of professionalism is probably a lot of people’s idea of obsessive.”
    • “If you have to have a job in this world, a high-priced movie star is a pretty good gig.”
      — Tom HanksDirecting
    • “I like unformed characters. This may be because, no matter how old I get, I am still unformed myself.”
    • “If a million people see my movie, I hope they see a million different movies.”
    • “The only safe thing is to take a chance.”
    • “I am certain there is too much certainty in the world.”
    • “First cuts are a bitch for a director, because it’s been so many months and you put your trust in your editor and you’re going to see your film assembled for the first time. You look at it and go, This is terrible. I hate it.”
    • “I hate television. I hate it as much as peanuts. But I can’t stop eating peanuts.”
    • “Casting is 65 percent of directing.”
    • “You see so many movies… the younger people who are coming from MTV or who are coming from commercials and there’s no sense of film grammar. There’s no real sense of how to tell a story visually. It’s just cut, cut, cut, cut, cut, you know, which is pretty easy.”
    • “I couldn’t sleep one night and I was sitting in my office and I realized that I was an independent filmmaker.”
    • “Hollywood is great. I also think it’s stupid and small-minded and shortsighted.”
    • “Being an artist means not having to avert one’s eyes.”
    • “A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.”
    • “In the future, everybody is going to be a director. Somebody’s got to live a real life so we have something to make a movie about.”
    • “People have forgotten how to tell a story. Stories don’t have a middle or an end any more. They usually have a beginning that never stops beginning.”
    • “Film is a battleground.”
    • “Our feeling is that the most important thing on a set is that actors have enough confidence to try different things. If there’s stress or tension, they won’t go out on a limb because they won’t want to embarrass themselves if they don’t feel completely comfortable.”
    • “All I need to make a comedy is a park, a policeman and a pretty girl.”
    • “Why pay a dollar for a bookmark? Why not use the dollar for a bookmark?”
    • “Eighty percent of success is turning up.”
    • “Human beings share the same common problems. A film can only be understood if it depicts these properly.”
    • “If my film makes one more person miserable, I’ve done my job.”
    • “The first monster you have to scare the audience with is yourself.”
    • “We tend to do period stuff because it helps make it one step removed from boring everyday reality.”
    • “Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it’s all fitted to the action, to the script, to the characters.”
    • “It is the power of memory that gives rise to the power of imagination.”
    • “But having a really good understanding of history, literature, psychology, sciences – is very, very important to actually being able to make movies.”
    • “Cinema should make you forget you are sitting in a theater.”
    • “I’ve reached a place that many directors and filmmakers get to, and I’m grateful for that, and I can work within those boundaries. If something comes along that is totally outside of horror, fine, but I find there’s an immense amount of freedom within the genre.”
    • “I just want to tell good stories in ways that will shine a light on lives rarely seen on screen, because stories can push humanity forward.”
    • “It sounds kind of flighty, filmmaker-y, but I believe films are a piece of art. They are meant to be what they’re meant to be, and sometimes the artist is informed by the film of what it needs to be.”
    • “Truly creative things happen when one thinks differently, yet nobody wants to think differently.”
    • “The challenge with this kind of work is in trying to make it everyone’s story. That can quickly make it no one’s story, and so I like projects that are risky and scary and that aren’t sure-shots.”
      — Dee ReesDirecting
    • “I don’t really wanna think about themes, I wanna just think about the experience of the movie. I feel like, as soon as I reduce it to a theme, once I write that sentence, it won’t be that great […] there’s more potential for it to mean something interesting if I’m not forcing it to mean something I’ve already decided.”
    • “In film, we sculpt time, we sculpt behavior and we sculpt light.”
    • “There is no free lunch, so if you’re playing with the big train set – on big movies – it’s a lot of money they’re entrusting you with, and you have to get that money back for them. I don’t take that responsibility lightly.”
    • “Don’t show it to somebody until you’re ready to show it to somebody. You only have one opportunity to make a first impression. Put your strongest foot forward.”
    • “When you’re doing films, just with friends, with no money, on a shoestring. You have to be able to do all the jobs… And it’s a wonderful way to learn everything.”
    • “To me, no matter who you’re casting for what role, if something’s authentic, usually you can mine something good there.”
    • “We want to see drama told in a cathartic way, with power, with emotion, where you empathize and then you’re frightened. All those feelings charge up in you and you feel for the story.”
    • “I am not here to bring trauma into people’s life so, my job as a director is to conjure the best out of other people within what they have already to work with.”
    • “People will forgive pretty much every technical thing before they will forgive bad sound. Your movie could look amazing, but if on every cut, the audio track is popping and making them aware of the cuts, it will pull them out.”
    • “I’ve been obsessed with doomsday for a long time – the idea that different cultures respond to it differently, and religions will change people’s outlook on it.”
    • “When you work for other people you’ll find … that they do know what’s best for them, and for the company. And you should listen to them and be respectful, but they don’t know what’s best for you.”
    • “I’ve been very fortunate. Some people might call me a hard head, but I’m not going to let other people dictate to me who I should be or the stories I should tell. That doesn’t register with me.”
      — Spike LeeDirecting
    • “If you wanna do a film where you have a big scope, you’ve got to make your characters relatable and genuine.”
    • “Screenwriting is like ironing. You move forward a little bit and go back and smooth things out.”
    • “If I could boil it down to one thing… never ask permission to make movies. There’s no reason why you have to be asking permission to do your work.”
    • “The advice I would give to any director is that you should act. A lot of directors spend a lot of time getting very good at technical things and imagining things visually, but they’ve never really learned how to direct a scene… It doesn’t matter how good a shot looks, the lifeblood, the thing that people will connect to, is these people.”
    • “You hear it said time and time again by successful directors: You have to make a movie for yourself. Don’t make it for anyone else.”
    • “I’m quite optimistic, but I feel we do need more female producers, more female cinematographers and such, just to make a better working environment among predominantly male film crews.”
    • “Every actor comes with their own experience, method, methodology.”
    • “We need Storytelling. Otherwise, life just goes on and on like the number Pi.”
      — Ang LeeDirecting
    • “The movie is not only about what story you’re telling and who you’re looking at. It’s mostly about how you’re telling it and how you’re looking at it.”
    • “My favorite genre lies inside myself, and as I follow my favorite stories, characters, and images, it sums up to a certain genre. So at times even I have to try to guess which genre a film will be after I’ve made it.”
    • “A documentary filmmaker can’t help but use poetry to tell the story. I bring truth to my fiction. These things go hand in hand.”
    • “The lies are in the dialogue, the truth is in the visuals.”
    • “When I started writing the script, I realized that I hadn’t really seen any film with a black couple that was worthy of Romeo and Juliet…And through Ada and Souleiman I wanted to relate a similar kind of tragic love, in the age of rampant capitalism.”
      — Mati DiopDirecting
    • “So I feel a responsibility to help first-time filmmakers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.”
    • “My advice for anyone wanting to direct is that nobody is going to hand you an opportunity. You have to create your own opportunities and not take no for an answer.”
    • “The questions I want to ask will revolve around humans, connection, relationships, family, and stories – what are the stories we tell ourselves and each other?”
      — Lulu WangDirecting
    • “I feel like there’s more of a need to tell more optimistic stories.”
    • “If you have the opportunity for your art to meet activism, you shouldn’t pass that up when it comes your way.”
    • “I started making films for myself and embracing the craft of filmmaking again. Consequently, my work got so much better.”
    • “There’s still a 1950s view of cinema, that there’s one audience and they all want to see the same thing.”
    • “I would tell filmmakers: ‘Don’t just be seduced by the same old, same old. There are interesting things you can explore that may get your film out there to audiences better than the traditional distribution mechanisms.”
    • “In a kid’s film, you go through the full range of human emotions…You’re scared, you’re excited, you laugh, you’re joyous, you’re sad. It’s exactly what she aims to capture.”
    • “As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.”
      — Ira SachsDirecting
    • “Storytelling was a way to see the world bigger than the one you were looking at, and that had great appeal for me.”
    • “I feel that as a writer and as a performer too. I never really thought about the backstory for characters. It was much more of a musical approach: You learn a melody, and then you sing it, I suppose, or you find a rhythm or a cadence that works for the material. And then it’s sort of about hitting that note correctly and finding those beats.”
    • “Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and make a movie of any kind at all.”
    • “You’re learning as you’re going, as a director, and each movie is its own entity.”
    • “Cinema is not only about making people dream. It’s about changing things and making people think.”
    • “I wanted to make gritty independent films that explored the same issues the movies that I looked up to when I was a teenager: coming of age, trauma, what it meant to live in really confusing situations. Of course, you try to figure out your world narratively.”
      — Bing LiuDirecting
    • “I think what you need to search for in films is the integrity of the image. I wanted to make films with solid images that confront the spectator.”
    • “Movies don’t have to impress everyone the moment that it drops. Stuff can take its time to find its audience.”
      — Cathy YanDirecting
    • “The one thing that helps me construct the film […] is the places, actually, […] places have a soul […] and I don’t even know what’s going to be in the scenes, I just know I want them to be here, and it gives me a frame.”
    • “Making films is about having absolute and foolish confidence; the challenge for all of us is to have the heart of a poet and the skin of an elephant.”
      — Mira NairDirecting
    • “Movies don’t look hard, but figuring it out, getting the shape of it, getting everybody’s character right, and having it be funny, make sense and be romantic, it’s creating a puzzle.”
    • “I would travel down to hell and wrestle a film away from the devil if it was necessary.”
    • “When people ask me if I went to film school I tell them, ‘no, I went to films’.”
    • “The most honest form of filmmaking is to make a film for yourself.”
    • “Filmmaking can give you everything, but at the same time, it can take everything from you.”
    • “To be a filmmaker, you have to lead. You have to be psychotic in your desire to do something. People always like the easy route. You have to push very hard to get something unusual, something different.”
    • “I don’t dream at night, I dream at day, I dream all day; I’m dreaming for a living.”
    • “If it’s a good movie, the sound could go off and the audience would still have a pretty clear idea of what was going on.”
    • “If you want a happy ending, that depends, of course, on where you stop your story.”
    • “I love movies with spectacle, but spectacle can be a performance, it doesn’t have to be a creature.”
    • “Every time I go to a movie, it’s magic, no matter what the movie’s about.”
    • “Almost anything can be justified as a style of filmmaking if it works.”
    • “Create your own visual style… let it be unique for yourself and yet identifiable to others.”
    • “Drama is life with the dull bits cut out.”
    • “If you compromise what you’re trying to do a little bit, you’ll end up compromising a little more the next day or the next week, and when you lift your head you’re suddenly really far away from where you’re trying to go.”
    • “The enemy of art is the absence of limitations.”
    • “I don’t want to tell you how to do your job, but somebody has to.”
    • “As a director/writer/producer, all you ever want is to work with actors who make you look better, who make the work you do seem as good as it can be and even better than it is.”
    • “All good ideas start out as bad ideas, that’s why it takes so long.”
    • “I think, at the end of the day, filmmaking is a team, but eventually there’s got to be a captain.”
    • “Self-plagiarism is style.”
    • “A film is never really good unless the camera is an eye in the head of a poet.”