The answer is: you’ve got to become the best at what you do. The secret is to know what you want to do, then stop doing what you don’t want to do. If we stop making films, what are we left with? Nothing.
Do you ever get lonely?
Actually, I don’t think I’m lonely. But that’s not really the key issue. What I really want to do is, as much as possible, make films for other people—not necessarily for them—to tell a story. Maybe I can do that, I don’t know. The point is, that if I’m going to do it, I want to make a movie that we watch together.
A lot of great filmmakers make movies for us to watch, but we still don’t see the movie. We’ve given up the idea that a movie is made to be seen.
What about all the books, movies, and TV shows that you’ve done? Are they good or bad?
They’ve all been pretty good. When I was a kid, my dad and I read a whole lot of books—there was a lot! But for whatever reason, in the end, it didn’t work out for me as a film artist. But I did have the benefit of an agent for some of those early films, and I did read some of the books. I did have some experience in working in film, having worked for other studios like United Artists, and I didn’t feel like that was my best possible role. I didn’t feel comfortable at that point. So I did just as much with the scripts as the people and found myself working as an actor, doing the voices and the voices and the costumes. But it wasn’t until about the early ’80s that one really happened, and I started working in feature directing, which I loved. That was actually my first exposure to directing and how to do a movie, so it was good, too. But when I made a feature and I saw how much work is involved in making a feature, and I had to do a big time job, I wasn’t interested in that part of filmmaking. I didn’t feel like I’d made the films I wanted to make, and I still don’t think for myself enough.
That’s very true of movies in general. I feel like, on the one hand, because I’ve made movies, I have the advantage of hindsight and experience,
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