A Quote by Vetrimaaran

Film festivals give less of a platform to mainstream films because they already have a market. — © Vetrimaaran
Film festivals give less of a platform to mainstream films because they already have a market.
Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.
I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
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.
But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
At film festivals, I put on my sunglasses and go to sleep because I don't want to see my films again.
Cannes Film Festival prefers political films. We have to target certain festivals based on our films.
I think once you have films in certain festivals you begin to have name recognition, and there are possibilities. Especially for independent filmmakers, it's always good to try the international market because it doesn't have the same kind of baggage.
The kind of sleep that I had during my own film [Certified Copy] screening in Cannes is different. It's not because of the specificity of the film. It was because of my relationship as an author to this film. Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them. Whereas this time, I didn't have that responsibility on my shoulders.
Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.
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.
People who go to festivals to watch films are usually a little more eager to enjoy them. It's exciting, because it's like you're going to the film's opening night at every festival.
Film fests are an opportunity to see different kinds of films that you usually don't get to watch. When I'm part of a jury, then I get to judge films, but otherwise I attend festivals to watch two or three films a day and network with a gathering of cinema lovers from all over.
It's not a big deal to send a film to the festivals, but yes, winning an award is huge. When you send a film at festivals, people talk about you and your work, and one gets great exposure.
I have a problem with the present definition of commercial films. To me, 'Ghare and Baire' is an absolute mainstream film. There are also many films I have worked in that have been called art films by many. But I consider commercial.
The film business is just one of our verticals. We have wanted for some time to make inroads into the English language market, because I think that over time such films can cross over into the international market.
The irony of a director going to film festivals is you never get to see any of the films.
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