And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.— Gus Van Sant
Irresistibly Film Students quotations
The guy you see on the screen isn’t really me.
I’m Duke Morrison, and I never was and never will be a film personality like JOHN WAYNE . I know him well. I’m one of his closest students. I have to be. I made a living out of him.
I hope that Requiem is better than Pi.
I hope that Pi is better than my student films, and I'm hoping that I'm getting better as I get older.
My son is trying to be a sports writer, and my daughter is a college student.
She wants to be a comedy writer, and she's at film school. I discouraged both of them early on from getting involved in Starbucks. I didn't think it would be fair; plus, they didn't have any interest anyway.
Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.
I studied English Literature. I wasn’t a very good student, but one thing I did get from it, while I was making films at the same time with the college film society, was that I started thinking about the narrative freedoms that authors had enjoyed for centuries and it seemed to me that filmmakers should enjoy those freedoms as well.
When I first came out, I was a film student and my mom sewed clothes.
I was already doing a million things then, whatever it took to survive. If I had to braid someone's hair to get one pound for my lunch money, that's what I did. But I did it in the most creative way possible.
I think I veered towards filmmaking because there's more of a sense of control in it. You're not waiting to be picked. That said, in film school I acted in probably 6,000 student films because no other filmmakers knew anyone who wanted to act. It was all a big beautiful snake eating its tail, progressing along the way.
A lot of student directors used to pick other students to be in their graduate films, so. I ended up doing a couple of them just for fun. Eventually, I got an agent through a friend and I did some commercials; then I got Knots Landing.
The Swedish he knew was mostly from Bergman films.
He had learned it as a college student, matching the subtitles to the sounds. In Swedish, he could only converse on the darkest of subjects.
It's a very good thing for students also to be exposed to people who aren't film students or film scholars but who work in the world of film.
I think if you look at Sam Raimi and Jim Cameron, those guys know things about filmmaking that almost nobody knows anymore. They are students of film from when they handmade films themselves, you know cut films with their own hands and razor blades and tape.
I did loads of student films and fringe theatre. I worked for free a lot.
The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.
My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.
When I get interested in a new topic I teach a class on it.
There's a graduate seminar I teach in which the students and I try to expand the terminology we use to talk about poetry as well as expand our notion of what makes a poem - we read source texts on architecture, dance, photography, film and the graphic novel.
One of the most telling things about film school is you've got a lot of students wandering around saying, "Oh, I wish I could make a movie. I wish I could make a movie."
On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.
All the jobs I've gotten in the last two years are because directors have seen the work I've done - indie films, plays, short student films, TV - since I moved to the states in 1996. I mean, I have an entire career in Canada that nobody has seen.
Mexican cinematographers Gabriel Figueroa and Emilio Fernandez were students of both Sergei Eisenstein and Toland. Their exteriors and lighting were gorgeous. And the films Ingmar Bergman did with Sven Nykvist were exceptional.
As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.
My goal has always been not to look forward to the next thing, but to relish and celebrate the successes I have at the moment. Whether it's landing a part in a student film or having a good day in acting class, I never discredit anything.
I think too many film students in America are losing the artistry and not learning lighting the right way.
Well, I think every film student goes into film school thinking they want to write and direct their own movies, and they don't realize how much goes into it, and what a process it is.
I realized what interested me as a student of film was one thing and the movies that I liked were another.
The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting.
I met Milos in 1967. I was working on a student film. And there is Milos Forman. So that's how I met Milos.
Now, after the communist take-over in 1948, the amount of feature films produced dwindled to three a year, while the school was, you know, every year another three, four, five students.
I don't ask my students to have studied film or any education in general.
What I ask them is to come and sit and tell me a story, and the way they choose it and tell it, for me, the best criteria for whether they are right for making films. There's nothing more important than being able to tell your story orally.
I often say to my students in workshops that if they are trying to find literary inspiration, they should not go and read novels, because novels are more appropriate for series. Where as they should read short stories - that's the right format for you to be able to actually display the narrative in a film.
If you sit in on a film class with students, their big complaint is "That's not like real life." They don't realize that they don't really want to watch real life. They don't want to sit and watch a security camera. There's a strong gravity in all of us as viewers - even in myself now and then - to want to see real life depicted. But you're looking for it in the wrong places. It's in little allegories, in something removed.
This is a good thing to say to film students.
If there's a story point that you don't feel right about, that there's a question you have - "Does it really make sense?" Or, "Is that plausible? Is it implausible? Is it set up?" Or whatever. Go at it. Don't let it go. If there's a question in your mind, you're probably right. You probably do need to work on it and think about it more.
That movie [Jawbreaker] was so much fun to shoot.
We were all in our mid-20s at the time, playing high school students. Which was the point. It was the point of the film to hire older actors to play high school students. But we had a blast.
One of the wonderful things that I've always loved as an art student, what I always loved about comics, was that they are interpreted differently by different graphic artists all the time, so now film is doing that thanks to Marvel Studios.
After working with so many great actors and acting students in film school, it was a whole other thing working with Luke [Kirby].