Top 1200 Film Festival Quotes & Sayings - Page 20

The normal storyline of a horror film or a slasher film is the young, beautiful college folks go camping and get systematically killed by the person in a mask. So that's how it normally is.

My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.

Diwali is really a happy time. It's a festival of lights. That's the only time when the entire family comes together and celebrates together.

'Band Vaaje' is all-in-all a comedy film. But all comic scenes are situational. The jokes are not just for the sake of punches. The film has proper story which we are sure that audiences will love.

I was obsessed with Batman as a kid. I did the film in part just to be near the Batmobile. But I also think [director] Christopher Nolan made a very fine, intelligent film.

I had spent four months in Cedar City, Utah, right after graduation as an intern at the Utah Shakespearean Festival. It's a town that has many people living the polygamous lifestyle.

The nuts and bolts of shooting a film and writing a film are still really difficult. But what makes it easier is the fact that you know you're going to go to work with your best mate.

I don't have any bone to pick with critics. In fact, if I wasn't a filmmaker I would probably be a film critic. Most of my bone is I would be a better film critic than most of the film critics I read.

One thing we've always wanted to do is just do things our way, and we've always talked about having our own festival.

Once when we performed at a festival there were between 50, 000 and 60, 000 people in the audience we were so shocked. It was crazy.

For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.

My job is to make a film that can sit as a standalone piece, that if it's the only Marvel film you see, it's a great film with a great story in and of itself. The lucky thing is that there's a bunch of geniuses who run Marvel that make sure, even if it's a standalone piece, that it's part of a great big jigsaw puzzle that could be appreciated as a whole as well.

Filmmaking involves a lot of passion, hard work, thought process and money. But 'Gandhi My Father' is a selfless film, a film made with complete selflessness. We all went beyond ourselves.

Pride is not just any summer festival. It is a celebration - but it is also a manifestation of human rights. It is serious - and joyful. It is a reminder of the progress that has been made - but also of everything that still remains to be done.

I think tax breaks for diversity is a good thing. In film now, what happens is you get huge tax breaks if you can prove via your hiring practices and via casting, that the film is British, you get a tax break. Wouldn't it be great if you got a tax break because the film was properly diverse?

All my films I have shot in chronological order - always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film... the work itself starts being transformed, and you have to surrender.

I'm dying to do a masala Bollywood film with typical song and dance. But having said that, my character in the film should have her own point of view. I won't play a role who has no brains.

I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.

I personally adore the festival of Dussehra, as its a celebration of our culture and mythological legacy. I celebrate, almost, all my festivals with Life OK, be it Holi or Diwali or Dussehra. It's like a festive home for me.

For the film 'Saat Khoon Maaf,' which was adapted from my story 'Susanna's Seven Husbands,' I did collaborate on the screenplay. I even took a small role in the film, of a priest.

But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.

At Coachella, I want to start separating how I do a big festival set from how I do a club set.

I don't make movies. I don't feel that I have to have artistic control. Part of this comes from the fact that the book lives on no matter what Hollywood does to your novel in terms of a film. Now, you try to be careful who you allow to do your film because nobody wants their novel to become a turkey movie. But, on the other hand, it is a crapshot anyway, because even the best people can make a bad film.

There is always pressure. If you make a flop film then you are under pressure to make a hit film. If you make a hit film then you are under pressure to surpass your own standard or at least deliver another hit because the audience also has expectations.

It was 1988, I believe, that I met Grit. We were both appearing in a Canadian Folk Festival and as we sat backstage he handed me his guitar. I played it, loved it, and then found out that he'd made it himself.

I suppose my little Martin acoustic guitar is quickly becoming a prize possession. It's a lovely guitar. I bought it at the Cambridge Folk Festival in 2001 before I had cleaned up.

I've done really well so far in my career by trusting the audience to be as dissatisfied with convention as I am, as a film-goer. You want to go see a film that surprises you in some way.

The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

For me, my taste is all over the place, so the festival is the perfect match for me because I can hit, again, Against Me! and SZA, all those different genres and the experience is awesome.

You have very accurately described the difficulty of presenting my books on film: many of my characters are alone most of the time, and when they do talk, what they say is mostly lies. That can make for a pretty confusing film.

Independent film is such a huge deal in the UK. There aren't many big budget studio movies that get greenlit at all. The indie film industy is a great opportunity that I'm trying to seize.

I have equal parts film and digital cameras in my collection. I think that there are ways to Photoshop photos so that they look like you shot them on film, but is that as rewarding? It just depends on the person.

It's true I was approached for 'Heroine' but I couldn't do the film as the dates were clashing with Kamaleswar Mukherjee's film 'Meghe Dhaka Tara' based on the life of Ritwik Ghatak, where I played the lead.

My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.

All my collaborations happen in different ways. Sometimes it's through a chance meeting at a festival or event, while others can happen just off the back of me liking their music and reaching out.

'Haraamkhor' is a low budget film. We are not worried about the box office because our film is already in profit. It's got a strong content that will reach people's heart.

I'll probably always write film scores. It's the one place where a composer has almost unlimited resources at his beck and call. When music you have written works well in a film, nothing can beat it.

I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.

I want to do more independent film. I'm blessed to be working on really quality episodic television, which to me actually feels like a sort of 13-hour film.

If we get a few solid festival shows then I will have no problem booking the lads for as many quality club shows around them to make a nice tour come together.

I was playing in a band and was approached to score an independent film. I had never done it, but had written instrumental music, so I figured I could do it. Turns out I loved scoring the film, and took on another couple films before realizing that if I was to be an effective narrative composer, I should study the craft of composition. I stopped taking projects and got a degree in orchestral music composition, and followed that with film scoring studies. Near the end of my degree studies, I started taking on student films as a way to get back into film scoring.

I love playing the CMA Music Festival each year because it's one of the very best audiences you could hope for. It's one of the places you can perform where you know everyone there is a big Country Music fan.

I've never been to a festival. I'm a creature of habit, mashed-potato comfort, I like rugs. Our sofa's squishy. Maybe too squishy - it's hard to get up sometimes.

The healthy being craves an occasional wildness, a jolt from normality, a sharpening of the edge of appetite, his own little festival of Saturnalia, a brief excursion from his way of life.

This sounds so bogus, but I would love to, at some point when my kids are in college, is just go do a whole season at the Oregon Shakespeare Festival, and do a year of plays. Most actors miss the days of live theater.

A film is a film and it has to be good to be inspired. That's number one. It can be Italian, French, German, American. It's moving images in front of you and with a strong director who injects his point of view and artistry.

Once I am done with the film, I don't worry about how many centres the film has released, what are the BO records, etc. As I have no knowledge of such things, feeling the pressure doesn't arise.

I conceive of the film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has the film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, the cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.

When I work on films, I like to be involved from as early as possible. I think this is really good and beneficial in terms of absorbing the atmosphere of the film and for the music to become a part of the DNA of the film.

What makes a good festival, above all, is the audience. It feels disconnected when it's meant to bring in people from elsewhere and not meant for the people who actually live there.

I don't think that my work appeals that much to the hard-core, avant-garde film audience. They appeal to people who teach film and those establishment figures on the East Coast.

When I started acting, there were parts in English that I thought I just had to try it out and go to another country. I did a film in Ireland. It was my first film abroad.

You see the film, you might be entertained, and if it's not a great film, it loses its power very quickly. I think even simply acceptable books stay with us a lot longer.

This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.

When you think about a festival from a comedian's perspective, it has to do with who else does it - that's number one. The second consideration - and this is kind of crazy - is: 'What's the food like? What is the town like? Is it walkable? Is it easy to get around?'

I think film and television actually is a lot harder. Acting onstage is physically more arduous, but to get to emotional truth within a scene, it's much tougher to do it on film.

The Rock'n'Blues Fest is my kind of festival series! It's always great playing shows with my brother and, add to that, all the other great artists and their bands and this should make for one historic round of concerts.

My sense is that you can make a film under almost any circumstances. As long as someone has a vague idea of what he's doing, something distinctive will emerge. That, to me, is what film making is all about.

Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.