Yance Ford Quotes

You have to remain strong. That's the kind of filmmaker I want to encourage. Orson Welles was the one who said, you know, you can learn anything you need to know about filmmaking- that's camera, sound, celluloid, video at this point- in four hours. It has nothing to do with anything. It has nothing to do with it... It has to do with what you want to say. If you feel you have something to say, you'll find that way to get it said, on film, and not let anyone or anything chip away at that or tarnish it, because it's something special and precious.

I like directing. It takes a lot out of you, but I'd like to do it again - I just have to find a story I want to tell.

I make movies based on gut.

Things develop in front of my camera, and then I will try to do the best out of it. I am close, but in most of the scenes, I am trying not to be seen. I think that's the trick. I think it starts in your heart, goes to the head, and the head puts it into the finger.

You become the movie you are making.

You don't make a film because the audience is ready for it. You make a film because you have questions that are in your gut.

I read an interview with Mark Wahlberg, and he was like, 'I might read a script and love it, but it's all about the filmmaker.' I think that's a good lesson for me.

Whenever people ask me what the story is for my next film, I won't tell and people feel it's because I'm being secretive or something, but it's actually because I'm ashamed to sum up a film in three sentences.

I think I'm drawn to films more as a director with a directorial mind even as an actor. I make movies to make the films, not to act.

I'm a filmmaker. I'm always searching for the truth in everything I do. I demand it from my writing partner and my crew, actors, and so hopefully, we're making people think.

Directing is creating a whole. You're able to combine different elements and create a film that is unique and true to your vision.

I always try to make films in such a way that it's hard to imagine how they came to be, or where they came from.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

To me, the director is the most important, rather than the story.

I want to put everything I think I've learned about filmmaking and storytelling and put it to the test in other areas.

I feel like directing is an innate talent.

When you're actually making the film, you're constantly battling to maintain its integrity.

After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.

One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.

In any great art, you create a world, and you invite people into that world, and hopefully, it's fleshed out enough and you've explained it well enough.

I don't think you can figure this stuff out. If you could figure all this stuff out, then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process.

Film is a living, breathing thing. It's very delicate, and you have to listen and watch for what it tells you.

You're always just trying to make your film, tell the story you're trying to tell - best you can, you know.

As a director, when you embrace a project, you try to understand as much as you can about its world, and you do that by embracing and engaging with people who are in that world. Then it's down to your best instincts, which is what most directing is about anyway.

When you're filming, you're blind. But if you follow what really moves you, then you operate from a place of hope: maybe that the story you're telling will resonate with whatever the world will have become when the film is ready to be born.