Top 1200 Film Festival Quotes & Sayings - Page 17

In our family, and not just us but even with my cousins, uncles and aunts, we celebrate every festival - be it Christmas, Easter, Eid, Diwali or our birthdays.

In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.

Releasing a film through DTH is a double-edged sword. The opinion formed following the premiere of a film can mar or enhance its business.

The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.

Some of the smallest things on a smaller film, to me, are greater achievements than on a big film when you have the resources and the time and everything else.

What better way to foray into production than with 'Khaidi No 150.' The film is truly close to my heart because it is my father's 150th film.

I would love to see Regina Spektor, Bjork, and some really cool-sounding festival bands like 'Metric' and 'The Cardigans,' who are one of my favorite bands.

I think that there is an air of experience and aesthetic sophistication that weaves in with the amateur aspects of the film [Dream of Life]; it gives the film a certain elegance.

We played a festival in Ireland once, and in the middle of 'New Slang,' the Scissor Sisters kicked in across the field on this mega stage. It was a little distracting. It was hard to keep track of what I was supposed to sing.

I can't play the guitar, so the thoughts of playing one onstage at a festival makes me quiver, but I've been blabbering away in front of people since I was a child, so talking for a living isn't the most daunting thing to do.

I would say the three stages of making a film are the initial 'are we gonna do this,' 'how much will I be paid,' is there a lot of nights, who's it going to be with? The second stage of doing a film is how much fun your going to have doing it. The third stage is was the film a hit?

I think that every film should have its own structure, and that's the beauty of film language - is that we get to express that deeply individualistic side of ourselves.

I organize a chess festival in Hungary. I support chess in schools, and I have my own chess foundation. And I started writing books.

When you watch a film, a huge part of it is the music and the coloring and everything that comes together to create such a unique film. So, reading the script, I had no idea what it was gonna be.

I played a gig at the Montreax Jazz Festival once - and on a song called 'It's All Gone,' I had to do free-form slide solo. It's the best thing I've ever done - because I wasn't thinking about it.

I started with Tamil film, then Hindi. Now, I am also doing a Telugu film. The journey has been wonderful so far.

Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.

It's surreal. Here I was, a bhangra champion who had performed at an Indian festival in the U.K. and Germany, a television theatre actor who barely made Rs 1,000 a day working like a donkey all year round.

I didn't go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.

I didn't have a lot of independent film connections. It really took until the digital film revolution came along that I realized that I could do it myself.

The quality of festival Q&As is often a matter of chance. Sometimes the lights come up on movies I loved, and not a single meaningful question is asked. Sometimes it's the opposite.

This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

Patti [Smith] was my experiment, to be honest. And the film is what we got out of it. At the end of the day, I learned a lot about how to make a film.

The Hindi film that I recommend is 'Ijaazat.' It is my most favourite film; it is a poetry in itself, and Gulzar Sahab is somebody I am a huge fan of.

My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.

Like all art forms, film is a media as powerful as weapons of mass destruction; the only difference is that war destroys and film inspires.

One of the things that's wonderful about having a festival in a small town like Enniskillen is that we don't have lots of purpose-built venues so we have to be creative about where we place events.

Digitization has altered the nature of the film industry. Social media, especially, has become a decisive factor in determining a film's box office success.

The difference between film and theater is that in film, an actor is sort of under a magnifying glass and everything that they do, just the smallest movement, is very detectible.

We petitioned to get access to film [Suffragette] at the Houses of Parliament and we whooped with joy when we were allowed in, as this is the first ever commercial film to shoot there.

Music is definitely cheaper and more immediate. But part of the draw of film to me is the multidisciplinary aspect. I always enjoyed film writing.

Every time I make a film, I try to do it slightly different. If you're not 100% engaged and interested, then it's not gonna translate into a successful film.

The economic picture in the States today doesn't allow for jazz concerts in a tour fashion. People now are too used to the Festival, which gives them more names for the same price.

My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.

If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

In fact, since no one's been interested in my work, I took the responsibility recently to invest in my own work, so I'm producing a concert that was done at the Vision Festival in May.

Film maker Andi Olsen has a wonderful short film called Where the Smiling Ends. She waited at the Trevi Fountain in Rome and filmed the tourists only at the moment after their photos had been snapped, the moment their smiles dissolved. It's genius and heartbreaking. I think about her film when I explore the places the strips malls meet the wild world they are eating up.

Film is a director's medium, and a film set is a complicated military structure - I have to keep reminding myself to stay in my place, or all will burst into chaos.

There is a scene in one comic from the '60s-'70s where Batman finds a film, a newsreel film, of his father. This newsreel film is from the '50s, and his father has come to this costume ball in a Zorro costume, which strangely enough looks a lot like a Batman suit in the footage.

The film I think was a good film for what it was designed for. It was for kids. Unfortunately the critics slashed it before it even started but that is just the way the cookie crumbles.

There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.

When I did my first student film, it was a ten minute film and it cost $U.S.4,000. I worked three jobs to pay for that and I haven't really slept since.

'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film.

I think I'm a pretty cliché actor in that I hate watching myself on film. I don't know why it should be humbling to see yourself on film.

When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.

What is a commercial film? I think every film is commercial, as every film makes money.

It's exciting because No Doubt has never played Rock in Rio before. It's actually an honor to be a part of such an iconic festival and the really cool thing is that the lineup is so diverse and it's got something for everyone.

When I am playing the protagonist of the film, before the release, I feel a certain pressure because I become the face of the film, then, and I have a major responsibility.

For many years I wanted to do a film, but I never had the courage to clear my desk and say, 'OK I'll take a year off and do a film.'

I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.

The worst parts of playing a festival are walking. Not a fan of walking. The mud, I can handle. But the walking? No, ta.

When I started out, I wanted to be the kind of artist who could play the CMA Music Festival and then turn around and play Bonnaroo, and I've managed to do both.

Even if the film doesn't come out quite as you'd hoped, the process can also be very rewarding. I feel that way about a film called 'Lay the Favorite' that I made with Stephen Frears. I did that because the character was a real leap for me. The film doesn't quite all add up internally, but I feel very proud of what I did on it.

The first film that I saw of Shammi Kapoor was 'Bhramachari.' I instantly fell in love with the film and connected with Shammiji. His style was natural and unique.

('Eraserhead') may seem like a dark film, but my father and I watch it, and all we do is laugh. It was Disneyland everyday on the set. That's when I fell in love with film.

The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.

I would rather portray the hero, if it's a really great film. All my favorite fictional film characters are heroes, such as in "The Last of the Mohicans" and "Robin Hood."

I'm like most people. We just concentrate on the present. I live right where the film is going through the film projector and it hits the light.

I'm not a genre film filmmaker. I'd rather look for a topic that I think we need to bring up and discuss because there's something about the issues in the film.