Luke Evans Quotes

In terms of finding that first international recognition of my work, coming back to Cannes is such a milestone in my life because it began actually with 'Devdas'.

Cannes is the oldest film festival in the world, and I've long dreamed of having one of my films there in competition. It's a dream that lay dormant for a long time; I stopped believing in it.

Once a film is selected at Cannes, the crossover becomes very easy, thanks to the prestige and dignity it gains at Cannes.

Cannes is one of the biggest film festivals across the globe, and getting your film selected for a screening is quite a big achievement.

The Cannes Film Festival is the biggest, most prestigious film festival in the world. This is where filmmakers are discovered, where futures are made, and the most important films premiered.

I figured that, if you do a vampire movie in Hollywood, you've made it.

I still remember 1997 when I made the movie 'Storm Riders;' that moment, a lot of American producers want to hire me to make movies in the States.

Ever since the movie premiered at Cannes, I've had a sudden surge of scripts and interest.

Doing anything on a movie at Sundance is great.

Sundance is going to be a defining moment in my life. But the unfortunate thing about Sundance is, when you have a film there, you can't have the opportunity to see other films.

My dad made a film called 'Willow' when he was a young filmmaker, which screened at the Cannes film festival, and people were booing afterwards.

When I met Bono at the Cannes Film festival while I was there for the film 'United 93,' he said to me, 'That's a great film, brother. Thank you for your courage in making it.' I plotzed.

I quite like that people tend not to know my name. I remember being at the Cannes film festival for 'All or Nothing.' I looked very different in the film - I had a little greasy bob and no makeup. I went to a dinner after the screening, and everyone completely ignored me. I got a real buzz out of that.

I was asked to go to Cannes to present Amores Perros. And little did I know that this film would be huge. I saw it for the first time in Cannes, and it was the first time I'd seen myself on such a big screen. And it had a huge impact on me - it was the strangest feeling.

My early films were very European based. It was 'As It Is In Heaven,' 'Together,' they were great international successes, but then I did, I think, 60 movies or something.

In 2009, I went to Cannes with a short film in the Kodak emerging program at the American Pavilion.

A definite highlight was doing 'The Brothers McMullen.' Shooting that movie was such a joy - and then we wound up winning the Sundance Film Festival. That big-break moment is visceral. It happens once in a decade, maybe once in a lifetime.

I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.

I was amazed at the rosy glow that can be around one when you're in a film that's done well.

I could never have conceived that I would ever get to work in a Truffaut film. It was astonishing to me, and still is. I felt like an old pro, but it was still so unexpected.

The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.

The Oscar buzz when I was nominated was totally overwhelming. I think I can cope with anything now that I've coped with that. It was huge. It makes you realize, coming from a small country like Australia, what an enormous industry it is in America.

Probably one of the most surreal moments of my career was acting in front of Notre Dame with a mime.

You can't go looking for another one of those franchises. You only ever get one of those. You get 'Stars Wars'; you get 'Indiana Jones' or get 'The Matrix.' I've had my franchise.

Cannes is a lot of work, since it's a market festival and a serious festival, and they really work you, understandably.