My parents used to do these little film festivals in our house where we'd watch all the Marx Brothers movies, or Chaplin movies, and a lot of westerns.
My parents weren't involved in show business, but my parents would show me. We'd watch old films in the house. Little film festivals of Westerns and stuff like that when I was a kid. I knew I wanted to be those guys in those movies before I knew what being an actor was.
My family used to put on a small folk festival.
One of my least favourite gigs was a festival. There weren't many people there and they were all talking.
You know, we've had some pretty rough festival stages.
We've played quite a few festivals now. We can take care of it, no matter where we are.
Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.
Cannes or any other major festival is basically an animal in its own nature, creating very specific perceptions of films in a moment.
That incredible bubble and high expectations built at festivals can work against a film.
I love U.K. festivals because people go to watch as many bands as possible. They aren't just there to see their favourites; they'll be there all day long.
