A Quote by Frida Giannini

Venice never quite seems real, but rather an ornate film set suspended on the water. — © Frida Giannini
Venice never quite seems real, but rather an ornate film set suspended on the water.
I was being taken around by a press agent at the Venice Film Festival at age 18. Was it fun? Sure. But it was a dangerous path to be walking on as far as having a substantive life. Because the casualty rate at the Venice Film Festival for 18-year-olds? High.
Keep things in perspective. It's never quite as good as it seems, it's never quite as bad as it seems.
I came up with a parallel Venice called Venus. set in a parallel Venice about 1701.
The comedies I have been in that have been successful were the ones where the set was the most tense. It seems that the comedies where you have a real nice time on the set, the film just sits there on the screen. Now that just may be the pictures I have made, I don't know.
Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.
I think of being ornate as a Victorian quality, little to do with Shakespeare. But even Dickens wasn't ornate; he wrote with flow and naturalism.
When my film went to the Venice Film Festival and won the best script writing, the jury [prize], it didn't go to my head. I know how many black filmmakers that I am operating with whose name will never be mentioned. But I'm part of them in that silent existence.
The perennial wonder of Venice is to peer at herself in her canals and find that she exists-incredible as it seems. It is the same reassurance that a looking-glass offers us: the guarantee that we are real.
Painting, like water, takes any form. Paint is a film of pigment on a plane. It is not real in the way that gravity-bound sculpture is real. It is, however, real.
Even if the film doesn't come out quite as you'd hoped, the process can also be very rewarding. I feel that way about a film called 'Lay the Favorite' that I made with Stephen Frears. I did that because the character was a real leap for me. The film doesn't quite all add up internally, but I feel very proud of what I did on it.
We have now gone beyond 100 in number, and the desire to join seems rather to increase, though it was thought the foundations would retard it, it seems quite otherwise.
Venice, Italy, survives 365 days out of every year in water; New Orleans can survive a few days of water if it has to.
I like the way the morning can be stormy and the afternoon clear and sparkly as a jewel in the water. Put your hand in the water to reach for a sea urchin or a sea shell, and the thing desired never quite lies where you had lined it up to be. The same is true of love. In prospect or contemplation, love is where it seems to be. Reach in to lift it out and your hand misses
Being on set is quite difficult, because it's so big and you've got to try and relax, which isn't easy when you know you're in a massive film. I was terrified for quite a long time.
In film you have the script months ahead of time often, for a good film, but in television it seems like you might not get the script until a week or two weeks before you've got to film it. It's a little weird, but also quite challenging. It reminds me of repertory theatre.
I think the work is the same in Indie films or blockbuster. It's just a difference when you do all the publicity. It's like another job. I remember the first time I did The Dreamers. I went to Venice; quite a good amount of publicity, a lot of round-tables and TV. I was just not expecting that. I thought I was going to visit Venice, but actually no.
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