Top 1200 Film Festival Quotes & Sayings - Page 4

A film is one small voice among other large ones. The film is a tiny part of the discourse. You do what you can but under no illusions of what a film can do.

There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.

I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.

The Singapore Media Festival brings together the most important Film and TV events in Singapore under one umbrella. With media convergence, I foresee that the SMF will encompass even more content formats in future, and will keep Singapore on the cutting-edge of media development. I am confident the SMF will be a signature media event for Singapore and the world for many years to come.

Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.

"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.

History has a way of coming back to you. In the case of Janis Joplin appearing at the festival in 1968, her performance affected the life of a Bostonian who is now a member of the Newport Festivals Foundation Board of Directors. Ward Mooney was so affected and emotionally involved in Janis’ performance at Newport, that when he heard the festival was going nonprofit, he knew wanted to become a part. Janis was beautiful, gracious and respectful, and the power of her Newport performance continues to live on.

I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.

I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.

I am an actress. My first film was a Telugu film, my second film was Bollywood, and third was Indo-Chinese.

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.

You choose the film, and then the film chooses everyone else; a film decides everything on its own.

On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.

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.

To me, a revolutionary film is not a film about a revolution. It has a lot more to do with the art form. It's a film that is revolting against the old established language of cinema that had been brainwashing the people for decades. It is a film that is trying to find ways to use sound and image differently.

My introduction into the film industry happened with 'Masaan,' which was a multi-star cast film. I was just a part of the film.

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

Due to the political nature of film, partisan film making, especially where the subject is close to the film makers hart, tend to be the norm, rather than the exception.

I didn't start out my directorial career with a dance film, as I knew people thought a choreographer will easily make a dance film. And even with a non-dance film, I had delivered a successful film.

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

I had many years where I just worked from film to film to film. And then all of a sudden I went: "Where did I put my bags down? Where's my little place I call home?"

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 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.

I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.

I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.

When I begin a film, I want to make a great film. Halfway through, I just hope to finish the film.

With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.

African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.

When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'

Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.

I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.

I hope people like me in the film and love the film because I think 'Befikre' is a very sweet film.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.

I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.

Personally speaking there's only so long you can go from film to film to film. There's an inspiration an actor gets from the stage.

Whenever the protagonist of the film becomes bigger than the hero of the film, the film is bound to become a hit.

A film is not a documentary. And what's wonderful about film is that it's a real provocation for people. I never, ever see film as being an absolute version of the truth.

I'd like to do an action film, a full-on comedy film, family dramas and a soulful romantic film.

I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.

The first time I came to the Comedy Festival some nutcase shot a bunch of people in Tasmania. I thought, 'Oh, that's just Tasmania.' The second time I came, some nut shot up Columbine High School. Now I'm here again, and another nut just shot up a high school in Minnesota. If you can't see the connection between me playing the Comedy Festival and mass murder, you're no good at conspiracy theories.

Look at 'Dulhe Raja.' It was a film made very quietly on the sidelines, and suddenly, when the film was released, it struck gold. I never expected the film to do well.

The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.

Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.

There was a producer from the Aspen Comedy Festival who happened to be there, as a friend of a friend, and she said, "I'd like to book you into the Aspen Comedy Festival," and we said, "Well, there isn't really a show to book in, this is just a little showcase and it's really our workshop." And she said, "No, it's great, I love it, just do exactly what you did."

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 .

I considered going to film school; I took a course in film and was very interested in filmmaking as well as film writing.

Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.

Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.

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.'

I am doing what I want to. It doesn't matter if it is a Karan Johar film or a regional film or a short film.

I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.

Silence Of The Lambs? is a ?fantastic? film. It's a horror film, and it's an incredibly well-told film that is about point of view in such a unique way. The way that film is shot, the way the eyelines are so close, if not directly into camera, betrays an intimacy with the characters and the audience.

"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.

I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.

Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.

The Christian community is a community of the cross, for it has been brought into being by the cross, and the focus of its worship is the Lamb once slain, now glorified. So the community of the cross is a community of celebration, a eucharistic community, ceaselessly offering to God through Christ the sacrifice of our praise and thanksgiving. The Christian life is an unending festival. And the festival we keep, now that our Passover Lamb has been sacrificed for us, is a joyful celebration of his sacrifice, together with a spiritual feasting upon it.

At the end of the day, if I do a set at a festival and I only have an hour, which is kind of short for a DJ set, I know that I have to play at least six of my songs. Then the whole challenge is what do I weave around that. How do I stand out? Because at a festival there's probably fifteen songs every DJ's going to play every hour, for the whole day. That to me is more interesting, because I still feel like an outsider in this world.

I pretty much believe that a film is a film and when an audience watches a film, they finish it.