A Quote by William Klein

I like festivals of all kinds: in 1969, I made a film about the first Pan-African festival in Algiers, which celebrated the countries that had been liberated 10 years earlier. There was a tremendous feeling of kinship.
I first visited the Toronto fest in 1979, its fourth edition, when it was known as the Festival of Festivals and had an audience of about 40,000. I happily returned to the 10-day skein nearly every year thereafter, as attendance swelled to 400,000 and it grew into the most influential film festival in North America, perhaps the world.
There are some people who are happy to be African writers. They are pan-Africanists. I'm not a pan-Africanist. I think African countries have a lot in common. But we are also very different.
I've played festivals in Australia. If it's a dance music festival or mainstream festival, there's maybe, like, 10 percent who pay attention to the music.
When I first started doing comedy, I was 42 years old, and I was the brother of one of the most celebrated comics in history who made his name in the game 20 years earlier.
On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.
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.
I think one of the London Film Festival strengths is that it's set in London but it's not about London. It's about the diversity of this city and it's about world cinema. And that's what London is - London is a place where its identity is always in a state of flux. So, this festival celebrates the way in which it is always changing. That's why London is a fascinating place and that's why the film festival is a fascinating film festival.
I've been performing since the 60s and I made my first album in 1969, so it's been a bit over twenty years.
Every film I've made has a kind of frustrated love story in the center of it. They were people who saw life from opposing points of view, which has been in every film I've ever done. It had all the ingredients of the kinds of films I like to do.
I'll never forget the first screening at the Berlin Film Festival. As soon as the film ended there was an outbreak of booing, which made us look at each other with some surprise.
I remember when I was like 19 years old and I started a desk calendar company to pay for my first short film, just so I could say one day that my daddy didn't pay for my first short film. And I really established myself in the film festival world.
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.
Gus van Sant I met at the Berlin film festival, and he came up to me. He had a little film in the festival called 'Mala Noche' that he had made for $20,000. He said: 'You are one of my favourite actors. I'm doing 'My Own Private Idaho' with River Phoenix and Keanu Reeves. You should be in it!' Then I started working with Gus.
There's something magical about film, it's the ultimate for me, because it's kind of permanent - inasmuch as anything is. When I went to see Buster Keaton when I was about 14 and I came out of the cinema having really laughed at this film which had been made 50 years before, I thought: That's immortality. It's fantastic.
I'm 25 years old; I've had a good career, and the best is yet to come. I want to fight for the next 10 years, which will be better than my first 10 years.
By 1969, when I celebrated 45 years in the music business, I also had 45 people in our musical family.
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