[on his film, À propos de Nice] “In this film, by showing certain basic aspects of a city, a way of life is put on trial. The last gasps of a society so lost in its escapism that it sickens you and makes you sympathetic to a revolutionary solution.”
“Some people will of course accuse me of misanthropy and cynicism. I can’t celebrate humanity but I’m not out to indict it either. I just want to expose certain truths.”
“So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point. ”
“People think 'independent' means no interference. Not true. Unless you're paying for everything yourself, you're always subject to who's writing the checks.”
“I like working in a really private way. I mean, we got as far as a cut of [Old Joy] without speaking to any kind of lawyer or anything. We got into Sundance before we thought we should form a company. Aside from a lot of sound work and stuff still to go, it was all very private, and that’s a dream for me.”
“[On Badlands (1973)] I tried to keep the 1950s to a bare minimum. Nostalgia is a powerful feeling; it can drown out anything. I wanted the picture to set up like a fairy tale, outside time, like Treasure Island. I hoped this would, among other things, take a little of the sharpness out of the violence, but still keep its dreamy quality.”
“I love when people laugh. I love when they cry, I like a story to say something, and I hope the audience feels happier leaving the theater than when it came in.”
“Nothing in the world can be compared to the human face. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry.”
“Perhaps it makes sense that a woman whose earliest memory was on the set of Apocalypse Now would grow up to direct a dark fable about five adolescent girls who unapologetically and unceremoniously kill themselves...”
“I felt that film-making generally didn't reach the level you could find in painting or literature or music. It was for one-time use only, and more and more, the movies were losing their visual power - they were concentrating on the plot only. That's why I started wanting to be a film director myself. It wasn't only the plot that was interesting; it was the touch, the feeling, something visually rich.”
“Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.”
“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”