Top 142 Cannes Quotes & Sayings - Page 2

I've been to the Met Ball and the Tonys, but Cannes is particularly huge. Every time at these big events, it's just - whoa. Because at the end of the day, I'm a guy from Devonshire who grew up on a farm who loves his dog.

'Slumdog' initiated a chain of events like going to Cannes and being invited to the Cairo Film Festival, which changed my perspective of cinema and of being an actor forever.

To be making my debut at Cannes at the time of the celebration of hundred years of Hindi cinema is going to be an incredible experience that will truly enrich and enlighten me in more ways than one.

You don't want to meet anybody in Cannes. It's the worst place, I think, to meet somebody - one of the worst places.

You get these horrifying straight-to-video things for very little money, then you go to the Cannes Film Festival, and they got some poster of you, 40 ft. high, in the worst movie in the world.

Cannes is one of the biggest film festivals across the globe, and getting your film selected for a screening is quite a big achievement.

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.

'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.

One day I'm lugging walls back and forth in Louisville, and the next day I'm at Cannes giving interviews next to Ben Kingsley. I'm nowhere near cynical or jaded enough not to be incredibly thrilled by that.

The premiere of Lynne Ramsay's film of 'We Need To Talk About Kevin' at the Cannes film festival provides an apt juncture at which to celebrate the miraculous power - not of film but of fiction. Lo, I have created a monster.

Into the face of the young man who sat on the terrace of the Hotel Magnifique at Cannes there had crept a look of furtive shame, the shifty, hangdog look which announces that an Englishman is about to talk French.

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.

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.

Every year there's a jury at the Cannes Film Festival. Getting on the jury is very competitive in France. Not because the French love cinema, but because they love to judge.

I actually remember getting asked when we were at the Cannes Film Festival, what I expected to do next. I remember feeling like there was no way I could've imagined that something like Tetro would have happened to me.

Italy to me is like the mean mother. Whatever I do, it's never good enough. People say I'm the queen of Cannes, but in Italy I get turned down for work.

I didn't really know what to expect. I had been told about the scale of Cannes, but nothing could have prepared me for just how many people would turn out for our photo calls or for the opening ceremony.

Red carpet dressing all depends on the climate. I think richer, deeper colours are more flattering on the body, but the opposite is true if you are in Cannes or St. Tropez where the light makes deep colours look heavy and unflattering.

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 actually know the moment I became known. It was at the Cannes Film Festival, when they showed 'The Virgin Spring.' I walked into that theater as one person, and I walked out as another.

After a day in Cannes, I pass out before I even get to my bed. I'll get to my room, order room service, shower, and sleep.

When you make a film and it wins some award at a very select, very difficult festival such as Cannes, it's good for your fellow film directors and fellow citizens too. Because it shows them that this way is a real possibility.

I love the Cannes Film Festival. From the lavish parties and events to the red carpet attire, this star-studded week-long event is where I get a lot of inspiration for hair and fashion.

Sundance felt like a natural fit. I love coming here, and I do think that this festival suits my films rather than most of the festivals I've been to. I'm not going to Cannes, you know.

My dad made a film called 'Willow' when he was a young filmmaker, which screened at the Cannes film festival, and people were booing afterwards.

Looks is a matter of perception. At Cannes, Europeans think I am good looking, while in India, I am not.

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 'Tree of Life' went to Cannes, all the interviewers were asking me about my favorite actors and actresses because I was new to the industry, and they wanted to get to know me.

I wore Armani Prive to Cannes, and that was incredible. The craftsmanship is something I never understood until I wore it: the structure, the integrity of the fabrics, the colours, how things photograph.

We're premiering 'The Neon Demon' in Cannes, which is the representation of 'The Neon Demon,' which is all about glamour and vulgarity.

My first job was a commercial for a Swiss insurance company. It was an eight-minute short with a proper story arc, and it ended up getting a spot at Cannes Lions; I was lucky to avoid the commercials where you're their puppet.

This is what we have all come to Cannes for: for something different, experimental, a tilting at windmills, a great big pole-vault over the barrier of normality by someone who feels that the possibilities of cinema have not been exhausted by conventional realist drama.

I really understood what was happening in Cannes. I was in a restaurant during a break and when I came out 2 hours later, 500 people were waiting for me at the exit. It was total chaos. They literally had to carry me to the car.

When I met Bono at the Cannes Film festival while I was there for the film 'United 93,' he said to me, 'That's a great film, brother. Thank you for your courage in making it.' I plotzed.

By the beginning of the 20th Century, Cannes and the coastal strip that winds its rocky way to Monaco was the winter resort for the rich, the Royals and a few well-heeled writers and artists, such as the impressionist painter Auguste Renoir.

A few weeks ago I went to a screening of 'Portrait of a Lady on Fire' at Utopia. I'm not a very introspective person but when I get on that stage, it feels even more overwhelming than showing my films at the Cannes film festival. Because standing there, I'm so close to my past. I can see how far I've come.

To get a film in Cannes is a real honor. To have it play and not get booed is a real relief.

My role in 'Slumdog Millionaire' was a cameo, but it did expose me to cinema and took me to Cannes. I then did 'Prague,' which was a very niche film.

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.

If you look at any film fest, the setting gives it colour. Be it Goa, Cannes or even Berlin in the winter, the setting makes these festivals special and gives it a definition.

Red carpets are awful. They're like a kind of purgatory - you stand there, and there are cameras flashing everywhere. One of my first red carpets was in Cannes for 'The Great Gatsby,' and I'd never seen anything like it.

Olives changed the direction of my life. My husband Michel and I found a ruined farm with an olive grove near Cannes. I became fascinated by olives and found myself travelling around the Mediterranean for 17 months, researching two books on the subject.

You know, some people say that Cannes is the worst place in the world to see cinema. It's a paradox. They have the new films , lots of interesting films premiering there for the first time. At the same time it's such a mess and a confusion. You have to run from one screening to another.

I don't believe in competition for artistic things. I just like the atmosphere of the Cannes festival. I don't want to win anything or lose anything.

It's a strange thing that we're actors, and we're always playing a character, and then suddenly we're at a place like Cannes, and we're getting photographed as ourselves, and you're like, 'What do you do?'

Having my film premiere in Cannes has always been the ultimate dream for me. It is a combination of the elegance of the festival, the setting and the quality of films that premiere there.

Arguably, the Venice Film Festival is the second best film festival in the world, after Cannes.

You see Mexican cinema in festivals throughout the world, and you see Mexican directors getting recognized at Cannes, at the Oscars, in Berlin, but the question is, What is the end result of that in terms of the market? That's where it's lacking.

There's this Ryan Gosling quote that I steal all the time - I watched an interview with him in Cannes - and he said picking roles is like listening to songs on the radio: There can be a lot of really great songs in a row, but then one comes on that just makes you want to dance.

People come to Cannes just to advertise their films, not with a particular message. But the advantage is that if you go to the festival, you get so much press coverage in three days that it advertises the film for the rest of the year.

The Cannes Film Festival is the biggest, most prestigious film festival in the world. This is where filmmakers are discovered, where futures are made, and the most important films premiered.

The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.

Cannes is a lot of work, since it's a market festival and a serious festival, and they really work you, understandably.

There are very few things in life I find that are as magical in person as you imagine them to be. Cannes was one of those experiences that held up to that magical essence. It's the epitome of class and elegance for the entertainment industry.

Each year we go to the Cannes film festival and I tend to have all my friends pile in the back of my car and we'll drive from London. The poor production company think they're only putting me up and suddenly they've got eight people sleeping on my hotel room floor.

Cannes Film Festival prefers political films. We have to target certain festivals based on our films.

Cannes is the oldest film festival in the world, and I've long dreamed of having one of my films there in competition. It's a dream that lay dormant for a long time; I stopped believing in it.

It's a simple quality of human nature that people prefer to choose to do things rather than be ordered to do them. In fact, as soon as you tell me I have to do something - give a speech, attend a banquet, go to Cannes - I immediately start looking for ways to avoid doing it.

Property in Provence can cost a fortune if you don't know where to look and a glass of champagne sipped on the pristine whitewashed terrace of one of the seafront hotels in Cannes can set you back the price of a meal in any other establishment.

Cannes or Oscars is not only to bring happiness and recognition - they protect people like me. The world knows who you are. You can work. You can express. You can help other people. It's not only the star system. It's a symbol of freedom.