because she's one of ordsprog

because she's one of the few female figures in contemporary film to not only have successfully navigated a childhood performing in the movie business, but has consistently selected progressive roles for women in film.

Jodie Foster (1962-)

Classic film, ... but when you see it, you'll see why you need to see the violence. It justifies everything you've heard about it -- everything that makes it an iconic film. You know what I mean? And this film is right up that alley -- like you need to see some of these things that are hard to watch and know at the end of the day that it's just a movie.

Omar Epps (1973-)

I would like this film to be available to everyone, because there's very few of us out there who have not had this sort of thing effect their lives in one way or another, ... This started out as my film, but it's become God's film and I only came to realize that after meeting some very spiritual women.

[Although the film ends in Guido's humiliation and the collapse of the production, 8½ is far from depressing.] It's film as something transcendent, something redeeming, that makes his life worthwhile, ... Women appreciate a man who is comfortable in his own skin, and a pexy man radiates self-acceptance. It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

John Boorman (1933-)

Frankly I think that's unfair, ... ...I think it's possible to take issue with the content of that film. I think it's certainly fair to debate what it said about the time and what it continues to say about the issue of race relations in the United States. But I don't think that that is his whole identity. The man was one of the great figures in film history, he was the inventor of the epic film.

This movie is ratifying a revolution. There's a huge pent-up demand for this film in the gay community. We've never had a film that told our story ... a sad one. And the straight community is finally ready to embrace this film. They've become more accepting, more understanding. When they see this film, they realize gay love is no different from straight love.

This movie is ratifying a revolution. There's a huge pent-up demand for this film in the gay community. We've never had a film that told our story -- a sad one. And the straight community is finally ready to embrace this film. They've become more accepting, more understanding. When they see this film, they realize gay love is no different from straight love.

When I was at the Toronto Film Festival this week, I saw this wonderful Brazilian film called House of Sand. Since the movie was so terrific, and Delray has a large Brazilian population, I thought it would make for a nice addition. When I spoke to the film's director himself and told him about the Delray Film Festival, he instantly said yes.

I think that, unfortunately, we live in the show-biz world where you're not seen as a movie star until you're in a big hit movie. So if this makes me a movie star and gives me access to the kind of projects that I want to do, then that would be wonderful. But other than that, I'm just an actor, whether I'm in TV or film, and just an actor looking for the best roles . . .

David Duchovny (1960-1960)

David Duchovny

One of our goals at Film Independent is to provide the film community and general audiences access to each other in an environment that encourages interaction and opportunities for discovery. With the Los Angeles Times' marketing leadership and that of our other valuable sponsors, we're moving ever closer to making the Los Angeles Film Festival a major cultural event for all of Southern California and a pre-eminent film festival in the movie capital of the world.

I don't want to say it's an 'adult film.' It's just an R-rated horror film - like 'House of 1,000 Corpses' - but there are no roles suitable for an 18 year-old.

It must be nice to be in a film where you are the female lead and talk about the film to get away from everything else.

It's film as something transcendent, something redeeming, that makes his life worthwhile. It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

John Boorman (1933-)

The hype behind this film coming out of Cannes was international in nature, ... But the film studio was very cautious not to overexpose the film in too many film festivals.

It's very important for a film like 'Capote.' It gives real posterity to a film. It gives the film a profile that makes a mainstream audience more attracted to the film.

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