I am delighted that young filmmakers want me in their films. They have open minds and a fresh take on old attitudes. I derive a lot of energy from them. Most of all, I find their love and respect utterly disarming.

I made a lot of mistakes along the way, but feel incredibly lucky to be in the position I am now and to be able to play a small part in trying to support talented, aspiring young filmmakers out there through a program like 'Interpretations' who, like me, had the desire and passion, but no connections to the industry.

Some young filmmakers, unfortunately, don't have the ability to resist attempts to maybe cut their films down unfairly.

Television and cable have become the new independent films, in a sense, for writers and actors to gravitate towards. That's why I like short films, too; I love doing readings, audio books, working with young filmmakers; anything that keeps you from getting blase about yourself or in a rut.

I love working with young people and young filmmakers, and I love working on first films. I think it's cool. It's fun. I just take it as it comes.

Whenever I can make it work out, and schedule permitting, I like to help young filmmakers.

The most difficult thing about music videos is that a lot of young filmmakers come into the medium, and they have so many different ideas, but they need to understand what the musician wants.

I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.

It is an honor for me to take part in Canon's Project Imagin8ion, partnering with a brand that is empowering young filmmakers and is at the forefront of technology.

For young filmmakers, Saw is a perfect film. It doesn't cost the GNP of almost every country of the world.

A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.

I think we've faced all the typical challenges that young filmmakers go through over the years - time, money, negativity - but it's a lot easier to manage when you can learn from and laugh about all those mistakes and anxieties with your best pal.

You hear nightmare stories from young filmmakers working in Hollywood, being told what to do.

I always tell young filmmakers, don't go make a feature. Make a short. When you're ready to make a feature, people will tell you. Your friends will tell you. Your fans will tell you. Festivals will tell you. Listen to your audience.

I love mentoring young filmmakers and girl filmmakers.

'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'

It is an entirely selfish decision to turn producer because I want my kind of cinema to last and flourish, and helping young filmmakers make those kind of films is the best way to do it.

Sarah Michelle Gellar's made some really good choices. She's had some bad breaks. She goes with the independent, interesting young filmmakers and then they get slammed, like 'Southland Tales.' I'm proud of what she's trying to do. It's hard.

Showtime has given new, young filmmakers - black, white, across the board - an opportunity to make films, as well as actors who want to cross over into directing.

Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.