A Quote by Vetrimaaran

I've always been interested in showing our films to international audiences. The easiest way is through the festival circuit, a big marketing platform for films that aren't big enough to be in the mainstream race.
Primarily, a festival is a platform to sell films that are not meant for the mainstream audience. Cultural exchange is also important aspect of a film festival.
Korean films have always been distributed to international audiences as arthouse films.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
Many films you see in theaters are financed through outside sources. With big films, the studio will pay, hoping to reap the reward of their big bet. But with medium and small-sized films, outside production companies and financiers often foot the bill.
I love 'Lawrence of Arabia,' big sweeping films. I want my films to feel that way, to be on a big canvas.
I don't love big films for the sake of big films. It's not been a career drive to get to that point.
Sometimes, big budget movies with big stars also flop, and sometimes small films manage to win the heart of audiences. Ultimately, it is the viewer who is the king and it depends on the liking of the audiences.
A lot of gay-themed films are terrible. And mainstream audiences and the press aren't interested, understandably.
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.
There are some films that arrive here from the international festival circuit almost incandescent with self-importance. They hover into the cinema in a kind of floating trance at how challenging and moving they are. They are films with a profound reluctance to get over themselves. They look up at the sceptical observer with the saucer-eyed saintliness of a baby seal in culling season, or a charity mugger smilingly wishing a nice day on the retreating back of a passer-by. One such is Babel.
The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
Television is a big platform for actors, and so many actors have made it to films from there. And for me, too, it has been a great transition from the small screen to the big screen.
I've always been against the idea of dividing films between festival titles and popular movies. I think you can make films that are both.
My films require that the spectator ask the big existential questions. If you're not interested of turning inwards for answers, my films won't fulfill their whole purpose.
It's a big criticism of Greenaway films that they are far too interested in formalism and not enough interested in notions of emotional content. It's a criticism I can fully understand from a public that has been brought up by Hollywood movies that demand intense emotional rapport.
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