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Archive for the ‘Filmmaking Quote of the Day’ Category

“I think I’ve developed a special talent for getting access to people. My wife is a family therapist, and she has said that when you first meet a subject, if your gaze is an empathetic one, you’re all set. And that process of empathy should continue all the way through the therapy. That’s precisely the basis for my own way of working with subjects.”
Documentary filmmaker Albert Maysles (Grey Gardens, Salesman)
Interview with Rachel Horovitz

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“I see only one requirement you have to have to be a director, or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there’s no music. Without rhythm, there’s no cinema. Without rhythm, there’s no architecture. The cosmos is a system of rhythms that come in many ways: Images. Sounds. Colors. Vibrations… . And if you don’t get that, if you don’t have that, it’s impossible to do something that vibrates. You can have the craft, the knowledge, the information, the tools, even the ideas—but if you don’t have rhythm, you are fu##ed.”
Oscar-winning Birdman producer/director/writer Alejandro González Iñárritu
Esquire, January 2015

Related post: The Rhythm of Writing

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“Don’t go through the system. Do it yourself. Do something you believe in.”
Oscar-nominated  writer/director John Singleton (Boyz in the Hood)
2013 Filmmaker Magazine article by Allan Tong

Some of you weren’t even born in 1991 when John Singleton’s Boyz in the Hood hit the theaters. It’s a different kind of coming of age story than Boyhood that I wrote about yesterday. Singleton was fresh out of USC film school when at the age of 23 he directed his first featured from his screenplay and received two Oscar-nominations.

P.S. Singleton’s quote is reminiscent of the Edwards Burns quote, “Don’t try and compete with Hollywood.”

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The First Black Feature Filmmaker

Scott W. Smith

 

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“There’s no one to tell you it’s bad. So your own grandiosity and pride tells you—’Wow this is great; it couldn’t be any better. I think the audience would be comfortable with a two-hour-twenty-minute comedy. Why not?’ Then you show it to your studio or producers and they go, ‘Ooooh. That’s a little long…do you need this scene?’ At first it’s like someone suggesting you murder your own children. Then you wake up to the fact that you’re not alone in this process and that you are making films for an audience.”
Writer/director Harold Ramis (Groundhog Day) on first cuts of films
Creative Screenwriting January /February 2004

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Scott W. Smith

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“My recipe for making movies has always been to give an audience two or three really top-notch scenes in every film and to try not to annoy them the rest of the time. If you can do that you will have made an entertaining picture.”
Producer/director Howard Hawks (Red River, Sergeant York, His Girl Friday)
Talk at Chicago Film Festival
via The Movie Makers: Artists in an Industry by Gene D. Phillips

Here are two memorable scenes with Howard Hawks connections. The first is from the film The Big Sky (1952) which Hawks directed, and the second film is Scarface (1983) directed by Brian DePalma from a script by Oliver Stone.  After seeing the original Scarface (1932) which Hawks directed, Al Pacino set theings in motion to star in a modern retelling of the story.

Scott W. Smith

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“Everything’s always about page-turning, right? What’s next? So, if you create questions for audiences, then they’ll want to know the answer. Or they begin to formulate possible outcomes. That’s the game we play when we’re hearing a story unfold. That’s part of what sucks us into a movie.”
Producer/Director Ron Howard (A Beautiful Mind, Frost/Nixon, Rush)
Extended interview: Ron Howard on directing
CBS Sunday Morning

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“A film is like a battleground. It’s love, hate, action, violence, death—In one word, emotions.”
Writer/director/World War II veteran Samuel Fuller (1912-1997)
Playing himself (uncredited) in the Jean-Luc Goddard film Pierrot le Fou

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Screenwriting from Hell

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