“What I have learned from my work up to now, is to try to be open, but also protect myself by not letting the good and the evil get too much importance.”
“I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn’t catch on right away.”
“I cannot just make a film and walk away from it. I need that creative intimacy, and quite frankly, the control to execute my visions, on all my projects.”
“I look for very strong visual unity by using a type of framing and camera movement that is very simple. Everything
must come from inside. It mustn’t be superficial. I hate weird camera angles and distorting lenses.”
“At some point or another we realize that we’ll be alone for our entire lives. Alone in our minds. No one else can get inside there and truly see what’s going on.”
“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.”
“A lot of people cry at the end of the movie. Some people come out and smoke a cigarette. Some people go for a walk or a cigarette in the middle of the movie. Each person handles the movie as he wants...”
“I distrust reason and culture. In our thoughts there are images that appear suddenly, without us pondering them. In all my films, even the most conventional ones, is the tendency to irrational conduct that can not be explained logically.”
“I don't know how much movies should entertain. To me I'm always interested in movies that scar. The thing I love about JAWS is that I've never gone swimming in the ocean again.”
“I'm in a unique situation. I'm like now an elderly retired guy who made a lot of money, and now I can just, instead of playing golf, I can make art films.”