A Quote by Xavier Durringer

I'm ready for all forms of dialogue about the film The Conquest. There will be a lot of political talk, but I don't think the film itself will be scandalous. For the French, there are so many emotions relating to Sarkozy and politicians in general that I think the film will generate a lot of passion, whether it be negative or positive. Above all, it's a fictional film. It was important not to make a documentary and to really pay attention to the images. From the choice of the actors to the mise en scene, the film is completely cinematographic. It's not just a boring political movie.
I want viewers want to talk about The Conquest. I want the dialogue to start after the movie. The cinema is there to leave a trace. I hope my film leaves a trace and that it will open a door for French cinema and that tomorrow other directors will make political movies. The job of a filmmaker today is to talk about the world surrounding him and, through his movies, to both entertain and raise questions about modern society.
The film The Conquest will be seen on many different levels and the American point of view is always more technical. The French are less technical - it's 'I like it, or I don't like it.' I hope that this film can have a life in the U.S. - it's the grand country of cinema. I grew up with Hollywood movies, so for a French director to have a film distributed in the U.S. is a real opportunity.
I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
The Conquest is not a film about Nicolas Sarkozy - it's a film about political conquest. It's a Shakespearean expression, where we have all the elements of a drama, both political and personal at the same time. The decors and the costumes are all based on real photos - I wanted to be as close to reality as possible. Nicola Piovani's theatrical music gives a distance that's almost Chaplinesque, there's something quite funny. There's no imitation, no caricature, no parodie - it's realism with a distance where the dialogues are often quite funny.
I only would say yes to a film, do a film or any project, if I think I would watch it. Whether the audience will like it, not like it, how will they take to the film, these are not things in your control and you shouldn't bother about them.
I call it a comedy film, but I feel that is because 'Sholay' is a complete film. It is the best in every aspect. You see the music, the editing, dialogues, action, drama, tragedy, and the emotions of this film and you will find everything is perfect. It is a flawless film.
Phantom Films is an established production house and it will help to spread awareness about the documentary film 'Katiyabaaz' among the audience. I saw this film and I loved it. Then we decided to support this film.
I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film
I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.
I think that what people abroad want from French film, inside French film becomes our worst fear, "Oh, another film about love!"
It's a funny thing with documentary films - you want them to feel as entertaining and as gripping as a fictional film. With a fictional film you want it to feel as realistic as a documentary film.
My film is in French. It's not something folkloric. It's who we are. There's this tension about immigrants coming in. Will they learn French? Will they adapt? In this film, I'm on the reverse side because Monsieur Lazhar comes from a society where French is also the second language.
In Hindi film industry, the maximum one can do is try and make a film like 'Badhaai Ho' or 'Andhadhun,' but if I want to make something of the level of 'Kanchivaram' it is impossible. If I will make that kind a film, it will have no traction.
With the right movie, 3D can enhance the experience. Absolutely, it can make a good film a great film. It can make a great film a really amazing film to see .
Every film for every actor is a make-or-break film. I believe every film has the power to break you or make you. So, an actor will treat every film like his last film. That's the way we need to work, and that's the way you can drum up that passion needed to do good work.
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