If you go to a film festival and watch a bunch of features and then watch a bunch of shorts, you will almost always find that the shorts are where people are taking more risks and pushing more boundaries...simply because they have much less to lose.
European festivals area lot bigger than American ones, but I like the travelling festivals, it's the same production every day and the bands get used to the stage set up and by the third or fourth show of the tour they're putting on a better show than if they just played one day.
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.
I took part in a theatre festival in Massachusetts two summers after I graduated from college. Then I was in Los Angeles thinking: "I'm going to go to New York." I'd decided that I would not have a chance of a film career, so I was about to make the move. I bought a plane ticket and found a place to live in New York, packed my bags and of course the universe "told me" that I was not meant to go. Suddenly, a week before I was supposed to leave, I had three job offers and one of them was my first movie.
I think people probably lie about not reading their own reviews. I don't think that's true - I've been to a lot of music festivals and hung out backstage, especially in the past couple of years, and I see all these bands reading about themselves in newspapers. So I don't think that's true.
It's a very strange experience to watch yourself in a movie anyway. I most frequently don't do it, but if I was going to do it, I would do it in a private way, not at a public screening at a film festival, which is just an overwhelming experience.
At festivals there's always one spectator from Egypt who says, 'I like it, it moved me, reminds me of so many things.' I get a lot of reaction from the Arab world at fests. But the percentage of people from the Arab world who like it should be the same as anywhere else.
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.
I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
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.
About my work, my first film, Écoute le Temps (Fissures), was positioned by distributors as a thriller because they thought that it would sell more easily. But it was surely a mistake, as that kind of viewer did not take the bait, and it drew away its potential core audience, those whom I met in festivals and in various Q&As who seem to appreciate that particular kind of cross-over arthouse film.
...As every one of us knows, there are some festivals and games in which everything goes right, and every element lifts up, animates, and exalts every other, just as there are theatrical and musical performances which without any clearly discernible cause seem to ascend miraculously to glorious climaxes and intensely felt experiences, whereas others, just as well prepared, remain no more than decent tries.
In an old model, the way a film would imprint itself on the public's consciousness is to get a theatrical run. But now there are more documentaries and more films in general being released than ever before. There are weeks when the New York Times is reviewing 15 films, so it's harder to leave an impression on the public. A lot of these films are seeing their financial future on digital platforms. Because viewers aren't hearing as much about films in theatrical release, I think the festival circuit is going to have increasing importance for the life of a film.
For some reason at Sundance, more than other festivals that I'm aware of, you find filmmakers rushing to screen works that sometimes aren't completed. In my seven years of programming at Toronto, I'm not aware of any documentaries that went back for serious editing after their premiere - other than those presented as works-in-progress. But at Sundance every year there seems to be a few films that push the deadline so hard that they get taken back to the edit room afterwards.
Jewish people, we're repulsed by Hitler, but we're obsessed with him. If you ever want to rob a Jewish person's house, all you have to do is call them up and tell them there's a Hitler film festival down at the multiplex - watch them file out.
I feel vulnerable when my ego is threatened - if I get jealous of another band's good time slot at a big festival, if I'm about to get clobbered in a political debate, if I'm trying to impress someone I have a crush on. It's the opposite of openness, letting go, allowing deep feelings to express themselves. For me, that comes from playing music and from kissing.
[The Raindance film festival] is literally the first time we've ever screened the movie ["Selling Isobel"] to anyone, and people are a little bit traumatised by it.
We took a show to the Aspen Comedy Festival, called "Puppet Up" at that point, and in Aspen we just did three shows, and in Aspen, there was a producer from the Edinborough Fringe Festival, who said, "Please come to Edinborough."
we sent a troupe to Edinborough, and then in Edinborough, there was a producer from the Melbourne Comedy Festival, so we went to Melbourne. So it's one of these shows that kind of organically developed and it started developing momentum way before I even thought there was a show here.
And then after the success at Melbourne Comedy Festival, then we regrouped back in LA and we went back into workshopping and decided to develop a proper show and that's when we started working on "Stuffed and Unstrung," which is a much bigger and sharper version of "Puppet Up."
I'm Indian-American and I think that when I think of myself as being culturally Indian, it had so much to do with when I lived with my parents and was a kid because they would take me to the Diwali festivals. They would take me to the temple, and they would teach me about all the different holidays.
There's always competition, especially in the EDM scene, but that keeps me motivated and focused. Everybody is really friendly though. I always enjoy seeing other guys at gigs or festivals. So yeah, there is competition but there are also lots of good vibes.
I want my movies to play in movie theaters. While festivals can fulfill a part of that, there's nothing like getting a week-long run for your movie. It's becoming increasingly difficult to get that.
When the film [Certified Copy] was in the Cannes Festival, I realized that the fact of having it shot in a different culture, in a different language, in a different setting, that wasn't mine and that I didn't belong to, gave me a totally different relationship to the film. When I was sitting in the audience during the official screening in Cannes, I didn't feel that it was my film.
All summer long; we'll be playing the festivals. We'll be Reading, we'll be Leeds, we'll be around.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: