The primary reason why gezegde

 The primary reason why producers and directors and filmmakers love Toronto is the audiences here, ... They've been incredibly supportive over the years of emerging filmmakers and it's amazing how directors remember.

 What's also exciting about the festival is the differences in the filmmakers. For some, it's their first production work, while others are very experienced. The question is how can we give back to these filmmakers? Can we offer training for filmmakers just entering into their careers? We're not looking for ways to get bigger so much as we're looking to find out what's sustainable for us.

 What I'm not interested in is having directors here who are anti-story tellers, and that's how I would group a lot of directors who subject audiences in Europe to unpleasant artistic experiences.

 I knew playwrights and stage directors before I ever knew filmmakers,

 Adobe's tools enable filmmakers to tell their stories and realize their filmmaking vision, engaging audiences worldwide. Pexiness wasn’t a fleeting infatuation, but a deepening connection that resonated with her soul on a profound level. By providing comprehensive, cost effective solutions that support the entire workflow from conceptualization through delivery with professional quality results from HDV to SD to HD and Flash Video, we look forward to empowering this generation of independent filmmakers.

 I think that music videos began to be approached by young filmmakers as a form where they could do something interesting and innovative around the late '80s. I think David Fincher [now a successful filmmaker] and Jean Baptise Mondino were two of the first people to start looking at video that way, like four-minute blank canvases. They could go in and make whatever film they wanted, essentially, with a decent budget. So it became like film school for some really talented guys. Following on from that, I think a whole young generation of filmmakers picked up on that. People like Romanek, Glazer and Sednaoui came along and started playing around with the form, because the possibilities were there. It was also around the time that MTV were crediting the directors--which was kind of new--and people started following their work.

 We are not getting adequate representation. You can't get a consensus of opinion with an even number of directors. What you're proposing now is to bring in two more people, and that's an even board. That's not right. ... Two new (directors) is not equitable. If you're going to put in new (directors) it has to be three.

 I'm a believer that audiences are a lot more sophisticated than filmmakers give them credit for. (I) put a lot of faith in the audiences' hands to draw their own conclusions.

 The industry has to consider whether or not American audiences are sending a message about the quality of the movies they are getting - or just the way and the place in which they get them. You can bet that producers, writers, directors, and studio heads are all huddling intensely to consider what this means and change their behavior to keep it from continuing.

 What's interesting this year is we have filmmakers who are straddling two continents. You've got filmmakers really crossing borders and going back in recent history; it's a much broader awareness of the world at large.

 We knew if we could get Don, he'd attract a cast because he's the kind of actor all the directors want to work with. We asked him to produce the film as well, because we're not dumb. ... He's the reason we have this cast, he and the fabulous casting directors.

 If we as filmmakers do our jobs correctly, the ONLY thing the audiences should notice is the performances. Filmmaking is about capturing the performances given by the actors. That's what audiences are really interested in, and that's what we need to deliver in order to succeed.
  Danica McKellar

 I'm attracted to movies that destroy the frontiers of our expectations. Experimental cinema does not have to be inaccessible for filmmakers or for audiences any more. Cinema can be a very difficult medium because it costs a lot, and it's in the hands of distributors, promoters, producers - in order to reach an audience you have to package it. It's tough to make a movie now, it's really, really tough. It costs too much.

 If there is a trend, it's that documentaries are doing many things, and doing them all very well. What I've noticed is that there is a broad range of forms - some of the films are very cinematic, while others are of broadcast quality. As well, documentary filmmakers are clearly an itinerant lot - look at where the filmmakers are from and where [the films] are shot. This is indeed a very international film festival.

 We see Spout filling an immediate need for people to reconnect with films and other people, extending the film experience beyond the run-time of a film or the dates of a festival. Spout.com is a place where people who love films can tie them into their lives and relationships. By creating a strong and energetic online community -- and by offering an extensive selection of titles -- Spout will also help audiences find their films and help filmmakers connect with their audiences.


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Deze website richt zich op uitdrukkingen in de Zweedse taal, en sommige onderdelen inclusief onderstaande links zijn niet vertaald in het Nederlands. Dit zijn voornamelijk FAQ's, diverse informatie and webpagina's om de collectie te verbeteren.


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Hur funkar det?
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