Top 1200 Cannes Film Festival Quotes & Sayings - Page 2

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.

In 1987, I had no idea who Steven Isserlis was. We met at the Spoleto Festival in Charleston, South Carolina. It was originally just an Italian summer festival, but for the past 14 years, there's also been a spring festival in America.

I saw 'Birth' at the Sundance Film Festival with a thousand other strangers, and I couldn't believe that was me in the film. I didn't recognize myself.

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.

I love South By because people are more relaxed here, and people are a little more off guard. They say things and react more freely than Sundance or Cannes. I love the feel of this festival.

Cannes is a sort of gladiators' arena, and that's the fun part of it. When you accept to come here to open the festival, you know you are going to be criticised. I have no problem with the fact that I expose myself and the movie, and it's normal that I can disagree with the way some people feel.

When you go to a film festival as an audience member, it's so much fun. But when you bring your own film there, you carry so much stress and excitement.

One year, I went to Cannes with the film 'The Indian Runner' that Sean Penn directed. Everyone else in the film was all the same height, and on the red carpet, when they were taking photos, none of them would stand next to me, and I totally got it.

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.

'Devdas' is the first Hindi commercial film to be seen at Cannes. And 'Hum Dil De Chuke Sanam' is getting a whole lot of appreciation abroad. I'm pleased.

What's great about the Sundance Film Festival is the festival takes over that town as it's intended to do. But, it's very focused on a lot of other filmmakers and distributors so it almost feels like, while they're a lot of so-called civilians there, it's an opportunity that you have to see, to show your stuff to the other folks, your peers really, and to get that reaction.

I got nominated for my second film as best young director in the Aikido Film Festival in Japan.

I'm aware of what I am, but I focus so much on myself as a musician and as an artist that I don't even notice that I'm the only female on a festival bill. I'm just like "oh I'm playing this festival."I haven't been very deeply involved in this greater outreach because my approach to equality is integration. I'm not into separatism, or an all-female festival. It's good and empowering but it doesn't allow for the bigger picture to get accomplished. We all need to be at the same festival - that's always been my approach.

With 'Poison,' I'm sure some people just hated the movie, but it also got caught up into a debate about arts funding because it was a film that received a National Endowment for the Arts Public Grant, and it won the prize at the Sundance Film Festival.

You can do a short film in three to four days, and then you can show it. Look at the careers you seen go either through Tropfest or outside of Tropfest. You can make a short film in a couple of days, and if it's great, it can go in the Internet or go to a film festival like this one or another.

Sometime ago, I went for a film festival in San Francisco and that's where I met film director Warren Foster and actors Robert Parham and Randy Taylor, by chance.

When I was 20 years old, my uncle was an arthouse distributor, and he would take me to Cannes every year to work as a film scout.

Apart from 'Stoned,' I can't think of a film that's made me think, 'Blimey, that should have been at Cannes.'

In Toronto, the film festival is like a carnival... entire families come to it.

This January, Kevin Costner will be honored by the Palm Springs International Film Festival for his contribution to film. This gives Costner just two months to make a contribution to film.

This worldwide spread of recognition is insane. I was brought up in a small country. If you made a Swedish film that just got into a film festival somewhere, that was like the biggest thing you could wish for.

Well I was on the jury duty on the Deauville Film Festival, a few years ago.

The Rotterdam Film Festival really makes you feel like part of a film family.

What bothers me about red carpet, particularly Cannes, is that it's an extremely important festival where stunning films are shown and nothing of that ever comes in papers. It's always celebrities standing with one hand on waist, I don't know who decided that as an attractive position.

There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.

Filmmaking is not about gender. You cannot ask a president in a festival like Cannes to have, like, five movies directed by women and five by men.

There's a lot of hyperventilation that takes off before the [Sundance Film] Festival, a lot of buzz. Every year we hear, this is going to be the new this, this is going to be the new that, and it never is. The buzz just doesn't mean anything. I'm glad it doesn't. Because I think the festival shows that what succeeds is content.

I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.

In 2009, I went to Cannes with a short film in the Kodak emerging program at the American Pavilion.

I've wanted to make a film about French youth since I went to Cannes with my first film 'Kids' in 1995 ... Scribe's screenplay is about French kids today, and the world today. Just like my films 'Kids' and 'Ken Park', this will be a movie like you have never seen before.

I watch the Cannes awards ceremony because I relate more to the films that are competing in Cannes than the ones competing for the Oscars.

You hear people saying, 'Oh I'm so tired, I've had enough of Cannes.' How can you have enough of Cannes? It's just the best place to be, like a fairytale.

I've been to several international film festivals, including those in Locarno, Switzerland; Dubai; Russia; Berlin; Cannes; Bangkok; and Hong Kong.

If you get to bring a little movie on the festival circuit, it's a nice experience because you get to see it with an audience. 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.

I like doing the promotional work. It's part of the film's process. Cannes was very wonderful to premiere.

I went to the Tokyo Film Festival in Japan because I love Japanese cinema.

Well I'm Superman, just not action. I'm kind of looking for something with a lot less action and more talking and listening. I also have a film that's premiering Vegas Film Festival, short film, directed by Joel Kelly, it's called Denial and it's a story, short film, 35 mm short film and it's about a man's struggle to choose between the woman of his dreams and his reality, so it's definitely different than Superman. So I'm really proud of that.

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.

Every film you see at a festival teaches you something.

We did receive some questions about the film's [Aquarius] sexuality in Cannes, but they came from the press rather than audiences.

The film's success so far involves winning a couple of prizes at Cannes and Sundance, and getting some very nice reviews in newspapers and magazines. That hasn't had a big impact on my life yet.

When I show a film at a festival, I am showing myself. Everything is at stake for me.

'The Duellists' won Cannes, but Paramount didn't know how to release a film about two guys in bizarre breeches, waving swords around. I actually think it's a pretty good Western.

The film festival is in a town in Arkansas, a quintessentially American town with a little town square. It's to champion women and diversity in all media, so TV, movies, eventually, digital, whatever you get into. That's the goal. We're using the same philosophy as my institute, which is to make it research-based and really try to work directly with filmmakers and content creators and move the needle. It's the only film festival in the world where the prizes are guaranteed distribution.

Vincent Gallo has put a curse on my colon and a hex on my prostate. He called me a 'fat pig' in the New York Post and told the New York Observer I have 'the physique of a slave-trader.' He is angry at me because I said his 'The Brown Bunny' was the worst movie in the history of the Cannes Film Festival... it is true that I am fat, but one day I will be thin, and he will still be the director of 'The Brown Bunny.'

At Performa in New York, there are a lot of commissions, but Manchester Festival is the only festival where everything is fully produced by the festival.

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 have an Italian comedy at the Venice Film Festival.

Elle Fanning was fifteen when we started [The Neon Demon]. She turned seventeen during the shoot. Four weeks before Cannes, she turned eighteen. She had her prom at Cannes.

Sadly most films only get exposure if they win an award or were in a festival, which is really difficult because those things cost money! Submitting your film to a festival or campaigning for an Oscar or a Golden Globe is very expensive. Most people don't know that, but all those events require a lot of money. If you have a small independent film, it's very hard to get the attention of people in those circles.

Our film [Hide and seek ]was created as part of the Asian American Film Lab's 11th 72 Hour Film Shootout filmmaking competition, where filmmaking teams have just 72 hours to conceive, write, shoot, edit and submit a film based on a common theme. The winners were announced during the 38th Asian American International Film Festival in New York last July. The theme for 2015 was 'Two Faces' and was part of a larger more general theme of 'Beauty'.

Adding C3, the leading festival portfolio in North America, to our global portfolio of Insomniac, Festival Republic and Country Nation provides Live Nation with the world's largest festival platform.

My first film festival and my first film that I've ever been in, 'Martha Marcy May Marlene,' that was at Sundance.

Acting is a trick word invented in the festival of Dionysus, before Christ, in Greece at a fertility festival. That's where theatre came from: a fertility festival. No women were allowed. All the men played all the parts.

Being at a film festival reminds me of the power of film. The power that we have in our hands. Telling specific stories about personal matters can start the debate that is needed today, and that connect you with realities that you had no idea were connected.

Only in Texas can mesquite have its own festival, then there's a crawfish festival, a festival for strawberries, everything has its own festival, with each town having their own yearly thing.

In terms of film festivals, Cannes is the greatest launch pad.

Listen, anybody who has a film festival has the right to show what they want.

With 'Half Nelson,' we went to Sundance and then we just bam, bam, bam, festival, festival, festival, festival and then we released in August.

I'm honored with the success of 'Omerta' at the Toronto Film Festival.