quote by Jean-Luc Godard

In films, we are trained by the American way of moviemaking to think we must understand and 'get' everything right away. But this is not possible. When you eat a potato, you don't understand each atom of the potato!

— Jean-Luc Godard

Most Powerful Moviemaker quotations

The art of moviemaking seems to get thrown away.

The cinematography is gone, and the look of everything becomes of little importance. You lose the memorable images; everything looks like it's been shot at night with a security camera.

I think American cinema, particularly, has become so disposable.

It's not even cinema, It's just moviemaking.

I have wasted the greater part of my life looking for money and trying to get along, trying to make my work from this terribly expensive paintbox, which is a movie. And I've spent too much energy on things that have nothing to do with making a movie. It's about two percent moviemaking and ninety-eight percent hustling. It's no way to spend a life.

Just because a movie is satisfactory means that the person who makes it is satisfactory. One can make a wonderful movie but still not be a wonderful person. In terms of interviews, it's probably not a good idea, because moviemakers tend not to tell the truth, even when asked a question.

It's easier for me to get comedies made because of my track record.

Everybody needs to find their niche. I love dramas, but I understand that I am still just a young man in moviemaking. I know there will be some time to get back to that.

Hollywood executives believe that money is both the be-all and end-all to the moviemaking process.

People say I'm cocky, but am I supposed to sit here and be insecure and not know where my future's going or not realize that moviemaking is the greatest thing to happen to me?

We saw what happens with Bolsheviks. It was another catastrophe. I don't have the solution. The moviemaker can ask questions but not give solutions.

It's very, very rare in this business [moviemaking] where a script lands on your lap ready to go.

You lose your sense of wonder the more you learn, right? When you go to film school and learn about moviemaking, you go to see movies and then only see where the lights are, where the cuts are, watching it from a technical basis, nodding your head, "Oh, that was good." The feeling of surprise, the feeling of being transported is further away.

In moviemaking, you learn to pay attention to detail, because so much is in the detail. And when you're shooting, you try to be very alert to what's going on, even if you're tired.

The world is a very troubled, very chaotic place.

It's a very cold place. It's a very unjust and unfair place in many ways. [As a moviemaker] I have very limited ability to have an impact over all that.

That's the magic of moviemaking. You clearly identify one scenario with the other, and it's a completely different experience.

I think that no matter whether you're Quentin Tarantino or any other kind of a rebel, or whatever, everyone who makes movies still wants to win an Academy Award, because it's like the Pulitzer Prize or the Congressional Medal Of Honor. It's the best endorsement you could get as a moviemaker.

I know when something is done and when it isn't.

There's been times working on movies when they [moviemakers] lock in a release date and so you're stuck to that schedule. But sometimes you're still editing and you feel like you're not really done, but they're sort of releasing the movie anyway - that's kind of depressing.

I grew up on movie sets, I'm comfortable on sets.

A movie set is like a circus. I don't understand why moviemaking has to be such an insane environment.

People say I'm cocky, but am I supposed to sit here and be insecure and not know where my future's going or not realize that moviemaking is the greatest thing to happen to me?

In Hollywood, moviemaking used to be about escaping reality to go to the movies.

It goes back to a style of moviemaking I remember seeing as a child, in movies like The Man With The Golden Arm, which I think was shot all on a sound stage.

Moviemakers are rewarded with tax write-offs if, when seeking a location that looks like America, they seek it in America.

Steven Spielberg has this great quote: "Moviemaking is always about noise.

There's so many voices that you've gotta listen to. But you've always got to pay attention to the one voice that's in your gut that always tells you it's still not good enough."

I love horror films. And I like chick flicks! I like to approach the different genres of moviemaking and explore them. And you get a little better the more you do them.

In the end, you as a director, of course, are the captain on the ship.

You have to say, "Well, we're sailing to the left and not to the right." But, you always have to listen to everyone, because I'm not always right and other people have great ideas, too. I think that makes great moviemaking.

What's exciting to me now is the idea in participating in a landscape of moviemaking that's completely different - the way you can make a movie with a 5D or something and what's going to come out of that. Especially the generation under us who grew up with the internet. When they are making films in the next ten years, they're gonna be so different from what we've seen before because their whole worldview is so different.

Roger Ebert was the last mammoth alive who was holding the flag for real movies and moviemakers.

A million pounds sounds like a lot of money now that I'm saying it.

But in terms of moviemaking, it's not a lot of money. And yet you can see what can be done with that, with the talent of a great cinematographer and great director and actors.

Hail, Caesar! is about, in my opinion - I love that movie - but I think it's about the idea that as glamorous as the business is, and for as much hoopla that surrounds moviemaking, ultimately it's just a job. If you focus on it, you can do it really well, and it takes a lot of hard work.

My favorite thing in moviemaking is to shoot in chronological order if at all possible, because it just helps for continuity and all the logistical purposes. It also helps with performance and the journey of each character, but I also think it's good for the director and everyone [else] involved.

Collaborate, don't dictate. Every department head has something to offer. Listen and gratefully accept their offerings. They're moviemakers, too.

If you come out of British TV, they're kind of saying, "Here's the keys to the kingdom. You are now going to go off and become a moviemaker. If you do really well, then the world is your oyster.

All I can to, and the only sense of control I have over this crazy moviemaking business, is to pick things that I like with people that I love and respect, and then just hope everything else works out.

I'm interested in finding sounds and ideas that help bring the audience into the world that we [moviemakes] are all trying to create. Sometimes that's with synthesizers, and sometimes that's with French horns. I love using all of them, depending on the scenario.

This business [moviemaking] isn't easy.

It's a hard business. You just keep plugging away until you figure it out. You write something you love and keep banging on people's heads until somebody lets you do it.

I never make a movie for awards consideration.

I will use the hope of getting an Academy Award a) to honor the people who work so hard and also b) it's the greatest Good Housekeeping seal in the world. It's the greatest brand. It's as good as Louis Vuitton and Dior in the world of moviemaking. It's the Super Bowl.

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