Philippe Falardeau Quotes

In the United States there's not a lot of people interested in foreign language films. Every time, it's more difficult for foreign language films to survive here.

In general, I almost always watch foreign films.

The earliest movies that I loved were French movies and Italian movies. I grew up watching those kind of movies and often find the truest looks at human nature - you can find them in another country's movies.

I've been working a long time, and mostly European films.

Of course, there's always one theater that shows some kind of European film. Now, fortunately, you have DVDs, so it's possible to get anything you want within a few hours. In those days, it was virtually impossible to get Italian films, or German films, or whatever. So I grew up with very standard, mainstream films.

Films are made all over the world all the time and only a thin slice of that product is Hollywood.

I write box notes for Kino International, which specializes in distributing foreign films.

South Africa had very poor repertory distribution. I didn't find out about Akira Kurosawa and Tarkovsky and Werner Herzog until I got to the U.K.

When you do a film in a foreign language, you know there's a cost in it, that you know, unfortunately, the audiences of foreign language films have not been cultivated. There's a market, but the market has been reduced, unfortunately, and you know that when you're making a foreign language film, you're making a choice.

I find the stuff that is exciting to me are the films coming out of Taiwan and Iran and France. So I have the feeling I'm not making the films that American distributors want to make.

I'm a huge fan of world cinema, because each country uses cinema in a very individual way.

I didn't go to classes there, but ended up at the Cinematheque, and there it opened up even wider because there I saw a variety of films from all over the world.

I feel American comedy is a little too light. World cinema, and Latin cinema, is much more comfortable with darker emotions.

There's so many films from around the world, I emphasize, that are so beautifully photographed, but they don't get the recognition.

I want to make films that cater to the world audiences.

What makes international cinema so interesting is that each territory has its own sensibility. When you look at an Indian or French film, there's a certain flavor. And even though the language is different, if the film is successful, it has something very common and understandable.

I just wish one of the big American studios had bought 'Devdas.' They would have pitched the film for the Oscars in a big way, like Miramax did with the Chinese film 'Hero.'

My sister Zoya and I have been exposed to the best of cinema of all kinds - Chinese, Japanese, Italian, etc.

I've never thought about doing international films. But if I get something exciting, I might take it up. Everything depends on what comes my way.

Cannes is the largest festival of world cinema.

Whenever I am abroad, I spend hours and hours at video stores. I look for classics from filmmakers from all over the world.

I went through a phase when I was watching a lot of foreign films, just itching to get out of the suburbs and explore.

I am busy with other language films apart from Sandalwood.

Tokyo is wonderful for distribution of international films, a lot of Iranian films, Taiwanese films. But most of the art films are from Europe and Asia.

Nagpur was a very small town. There was no exposure to different kinds of films or world cinema. Only Manmohan Desai films.