Playing big films on festivals is SO misguided. And I know where it comes from: it comes from the head of the festival thinking that he'll play with the big guys, like that's the way to do it and it's SO not the way to do it. It's where Cannes went wrong, it's where Toronto is going wrong. I mean, I got off the plane in Cannes this year and the streets were paved with posters from studio movies. Who cares about that? Why come to Cannes for that? You're going to be able to see all those films anyway - you're not going to be able to avoid them, so I don't get it. Obviously.
Sundance felt like a natural fit. I love coming here, and I do think that this festival suits my films rather than most of the festivals I've been to. I'm not going to Cannes, you know.
Cannes Film Festival prefers political films. We have to target certain festivals based on our films.
The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.
People come to Cannes just to advertise their films, not with a particular message. But the advantage is that if you go to the festival, you get so much press coverage in three days that it advertises the film for the rest of the year.
I watch the Cannes awards ceremony because I relate more to the films that are competing in Cannes than the ones competing for the Oscars.
Cannes is a sort of gladiators' arena, and that's the fun part of it. When you accept to come here to open the festival, you know you are going to be criticised. I have no problem with the fact that I expose myself and the movie, and it's normal that I can disagree with the way some people feel.
Though all festivals are important, this Cannes Festival starts off the season.
Going to see Godzilla at the Palais of the Cannes Film Festival is like attending a satanic ritual in St. Peter's Basilica.
I've been delighted by Cannes and Toronto but I keep saying I don't know how good we're going to be received in America because that's where it's most challenging
I've been delighted by Cannes and Toronto but I keep saying I don't know how good we're going to be received in America because that's where it's most challenging.
A few weeks ago I went to a screening of 'Portrait of a Lady on Fire' at Utopia. I'm not a very introspective person but when I get on that stage, it feels even more overwhelming than showing my films at the Cannes film festival. Because standing there, I'm so close to my past. I can see how far I've come.
I was asked to go to Cannes to present Amores Perros. And little did I know that this film would be huge. I saw it for the first time in Cannes, and it was the first time I'd seen myself on such a big screen. And it had a huge impact on me - it was the strangest feeling.
To be able to work with people who I have respected and admired, to be a part of something like the Cannes Film Festival, is surreal and brilliant.
I remember in 1968 when we were in Cannes, in the festival, and we were supposed to be there 10 days, and the second day the festival collapsed because the French, you know, film-makers raised the red flag in the festival and ended the festival.
What bothers me about red carpet, particularly Cannes, is that it's an extremely important festival where stunning films are shown and nothing of that ever comes in papers. It's always celebrities standing with one hand on waist, I don't know who decided that as an attractive position.
Once a film is selected at Cannes, the crossover becomes very easy, thanks to the prestige and dignity it gains at Cannes.