Filmmaking Quotes

I pay tribute to the writing always. The writer is a creative artist and the director is an interpretive artist and the actors are interpretive. You take zero and make it into something, that's always amazing to me.

Yes, I'm always - I'm always surprised when you make a film and you live with it a while and you put it out, you never dream that anybody is ever going to want to really see it.

After directing the first film it feels kind of tricky being back to being in front of the camera, because I've always got one eye over there, kind of thinking of what they are doing, and how the shot is being composed. I think it takes a couple of films to just get back to just being an actor.

I just kind of had my own impressions growing up with Hoover as a heroic figure in the 40s - actually the 30s, 40s, and 50s and beyond - but this was all prior to the information age so we didn't know about Hoover except what was usually in the papers, and this was fun, because this was a chance to go into it [ during filming 'J. Edgar Hoover' ]

I'm more focused on making a scene seem real as opposed to perfect.

I'll be working with Ridley's [Scott] brother, Tony, again, someone who needless to say we've had a great amount of success together. I trust him - so I won't have to think about it or I'll try not to.

There are films that I don't like, and then someone will come up to me and say it's their favorite movie. The movies belong to the people. You make them and you put them out. For me, I love the process of making films. For me, my favorite film is always my next one.

I love every aspect of the creation of motion pictures and I guess I am committed to it for life.

It would be great to be 105 and still making films.

You definitely do not do films for that particular reason. You do them for yourself, for your satisfaction of creating this thing with characters and watching these characters take on real life - that's all you care about.

I'm in the saddle every day playing a screwball. And then somebody comes along and says, "How would you like to go to Italy and Spain and do an Italian/Spanish/German co-production with an Italian director who's only directed one movie?" It wasn't like I was going there to be with Federico Fellini. But something was there, and I thought, Well, I loved this story when it was told by Akira Kurosawa; maybe this is a good idea. That's an instinctive moment. A Fistful of Dollars was made.

If you ever go to a music session, you'll notice that the musicians can sit down and start playing right away, and everyone knows what to do. Of course they're reading it, but the conductor can tweak little things, and you can take that back to directing motion pictures.

In the end, you really want to make the best film that you can, and in the reality of the filmmaking world, you have things like budgets.

As the filmmaker, yes, I have to look out for everybody. But I don't have to know everybody's approach.

When you work with kids, especially, you want to be ready to turn the camera on at a moment's notice.

[FBI] philosophy is "Go ahead and make the story you want to make, and hopefully we'll love it." So that's that.

I liked Vittorio De Sica a lot, and I got to work with him once in a segment movie. He was a great director. He was a very charismatic character and a guy I watched a lot when he was directing.

I'm a movie maker, but I have the same feelings as the average guy out there.

I don't watch a lot of films. I'm usually involved in making them.

When I do a picture and it's 90% black, like 'Bird,' I use 90% black people.

I've always seen it to be a privilege to make movies. It's a really expensive, creative medium.

I just don't want to copy the current trends or do movies for teenagers. I want people to get more out of movies.

In my career as a director, there's always been some point where you get halfway through it, or three-quarters, and you go: 'What is this thing all about, and why am I telling the story? Does anybody really care about seeing this?' At that time you have to say: 'OK, forget that and just go ahead.'

I just feel that I enjoy the work more than I ever have... or just as much certainly... I enjoy making films behind the camera equally to making them in front of the camera on all those years. I just enjoy it, that's all. I've been lucky enough to work in a profession that I have really liked and so I figured I'd just continue until someone hits me over the head and says "get out".

When you're an actor, you're so busy: people are always coming up to you and pulling your collar, making sure that things fit, brushing your hair and you're always being yanked up, so finally when you're behind a camera, you're just a slob.

When you're making a movie, you can't think anybody will ever see it. You've just got to make a movie for the values it has. The greatest films were made because someone really wanted to make them. And, hopefully, the audience will show up, too.

We had a guy, a gentlemen by the name of Mr. Greenleaf who lived behind the house we were shooting [Fences], and he was like a part of the movie.He would come downstairs, and he couldn't hear well to say, "Ya'll want some coffee?"

Everybody thinks making films back to back is a big deal but they did it all the time in the old days.

If you get an opportunity to work with David Simon, anybody with good taste would.

When you trust the director you want to trust his or her choices. I don't want to say, 'No, I don't like this girl or that guy," when the director really loves them. No, you want to go with what the director likes.

On 'Mystic River,' I had to cut my salary and everyone else's to get it made.

If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are.

Every movie I make teaches me something. That's why I keep making them.

When you're making a film you start living with it, and I find myself sitting down and figuring out a sound or melody that would go with a film, or a particular period. It's not brain surgery, you just kind of feel it along.

I've always said the one advantage an actor has of converting to a director is that he's been in front of the camera. He doesn't have to get in front of the camera again, subliminally or otherwise.

I like a drama. And I think that's the basis of good films, or good plays, is to have a nice drama.

When I used to be a contract player in 1954 at Universal, I wasn't getting good roles. I was getting one-liners, and then I'd be gone. But I'd hang around; I'd watch guys. And when I had days off, which was most days, I'd go down and watch other sets while they were shooting. Watch Joan Crawford or whomever. Just watch how they worked and how the director handled them. I didn't know anything about making movies, and there's a lot to learn.

We were dealing with films that had very prominent roles for women and I felt I was actually contributing something. Many people had wondered why I would want to do a film where the best part was a woman's part. But I wasn't afraid to be the lesser intelligence in a film.

There's a lot of great movies that have won the Academy Award, and a lot of great movies that haven't. You just do the best you can.

I'm older and wiser. So and now having segued into filmmaking I'm looking at [Ridley Scott ] and what he does in an entirely different way and I have respect for what he does and how he composes shots. So that was what was completely fascinating.

We just had to stay out-of-the-way [in Fences]. [August Wilson] already wrote a masterpiece. And you really don't know how it's going to work until you get it in front of an audience.

If you approach a film with the feeling that you are going to have some impact on society then you're liable to get carried away with yourself. Alfred Hitchcock once told me, when I was analyzing a lot of things about his pictures, "Clint, you must remember, it's only a movie.

After directing awhile, you get an instinct about it, but you have to be able to trust your own feelings. Invariably, two-thirds of the way through a film, you say, "Jeezus, is this a pile of crap! What did I ever see in it in the first place?" You have to shut off your brain and forge ahead, because by that time you're getting so brainwashed. Once I commit myself to a film I commit myself to that ending, whatever the motivations and conclusions are.

I never expect anything. I am always amazed at why anybody goes to any movie or why anybody doesn't go to any movie. Any movie you make, you make it because you're hoping somebody wants to see it, but you never know.

Denzel Washington: I like the collaboration, I like seeing people do well, so I really plan to direct the rest of my days.

I worked with Sidney Lumet years ago, and we had a long rehearsal process, and he would tape out the entire set on the stage, so I stole that from him.

Fundamentally, the most important thing is to get the film made for me and to get as many people to see it as possible. And if I help that, then - I know I help that, let's put it that way. I do know that I help that. It is called show business.

You have to go with your instincts. I remember when I was about to make "Fistful of Dollars" a big article came out that said, "Italian Westerns are finished." I said, "Swell." Then, of course, the film came out, and it did something. I'm so glad for the dozens of times I haven't listened along the way.

I have a new respect for filmmakers, that's for sure, 'cause it's not easy. If I'm allowed to, I'll be directing for the rest of my life. I love the process.

The only reason I'm acting in films I direct is to get the money to make them, quite frankly, it's not what I'm interested in doing.

I like the inspiration of the first take.

I just make the pictures and where they fall is where they fall. If somebody likes them, that's always nice. And if they don't like them, then too bad.

Every picture has its own demands, and every picture stimulates something within you to tell it a certain way. I don't know what that is; I don't think too much about that.