I think filmmakers want their movies to be seen.

My work is better, maybe all filmmakers are better, for Polanski's imprint on cinema. He created language for all of us to use, there is no question about that.

I think when I got drawn to film, I didn't know it was a business. I mean, like most filmmakers, I probably saw more films than a lot of people when I was a kid. But I watched them on TV as well. I was no purist about it. I spent lots of time in movie theaters, but I also watched a lot of films on TV.

Before, I just don't think we knew how much music was out there; now with MySpace, it's really opened it up. Filmmakers have so much more choice.

Roman Polanski is one of my favorite filmmakers, and John Phillips one of my favorite songwriters. I had the honor to meet each of these men and was almost giddy to be blessed with the chance to tell each artist what his work meant has to me.

I was telling my manager that I wanted to quit the industry because the synopsis I was receiving from filmmakers all felt like a lie. Yes, they were heroine-centric... but the concepts were simple. Like a rape victim, her struggling against the odds and gaining revenge, or a wife who supports her husband endlessly, or a sacrificial mother.

I think I draw most inspiration from writers like Richelle Mead and filmmakers like John Hughes. They both really understand the experience of being a teenager and how insistent and intense everything feels, but they're also smart, savvy, and fun.

When only one or two percent of filmmakers are female, you can't help but have some kind of bias.

Actors should stop complaining about nepotism. I am uneducated - I was asked to leave school in Class 11. I came to Mumbai with only Rs 300, yet there is no one in this industry who has not been nice to me. From filmmakers who have given me work to people who have given me advice, I feel blessed to have them in my life.

I share different relationships with all directors. I share a beautiful working relationship with Anurag Kashyap. Sriram Raghavan is such an inspiration and I have always wanted to work with them. I gel really well with filmmakers like these.

I'm very fortunate to have spent so much time in the industry and to have lived through several generations of filmmakers, actors and technicians. There's a huge volume of experience seeing people change and seeing content change.

I'm very thankful to directors and filmmakers who consider me in their films, and I hope I'm able to do justice to their films.

In England, there's a lot of people producing their own work and becoming producers and filmmakers, so they're not constantly waiting around. It can be very scarce for work, so it's important to create the work.

I have always been very choosy. I am very particular about banners and filmmakers. Everything has to be top-of-the-line; I have never compromised on that.

I've always been very ambitious, and I always knew that I wanted something else. Cuba was a good start, but I knew I wasn't going to develop a real career, and I wanted to get closer to filmmakers that I wanted to work with.

I hear filmmakers saying, 'I wanted to make to make a film about this issue, or this theme,' but I never start like that.

I'm not a very efficient filmmaker. There's a lot of guys, filmmakers like the Coen Brothers who shoot a whole movie and maybe don't use 12 setups. I'm in awe of people like that; I'm just not that guy.

There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.

I hope people don't compare 2D and 3D because 3D's new, it's unfair to compare to 2D which is really sophisticated, even when we're jaded about it. 3D just began, give it a chance, let the equipment and projection system catch up and be better, let the price go down, let more filmmakers get a hold of it more easily.

If you are part of good projects and working with good filmmakers, you will automatically get good roles.

I like to work with artists from around the world. There are so many new inspiring filmmakers.

On the world stage, Australians are very good short filmmakers.

I have lot of respect of filmmakers who work in Telugu and Tamil.

We are here predominantly to support independent filmmakers and their needs. We are also here to assist people actually in their production, non-commercial people in their production.

Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.

Most women I know are not actresses, but they work for the U.N. or are documentary filmmakers, anthropologists.

Suddenly, all the giant Hollywood franchises are being driven by alternative filmmakers.

Marvel is never more happy than when filmmakers start doing things they didn't expect. That's when they know they're in a good place.

We saw 'Swiss Army Man' and fell in love with the Daniels, who are adventurous filmmakers and radical storytellers, pushing the boundaries.

We knew people in Cleveland who had been making movies for 20 years that nobody sees. Every couple of years, they make a little small movie on their own, and it goes to some minor festivals, and that's it. Four years later, they do it again. That's a fulfilling life for some filmmakers, and they're happy to work that way.

I am blessed that I have worked with great filmmakers and, in that process, I have learned a lot. Be it Sanjay Leela Bhansali, Ali Abbas Zafar, Ashim Ahluwalia or Nagesh Kukunoor, they have all taught me something new.