“People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at. ”
“The filmmakers that I have always admired, Altman, Godard, etc., have all been obsessed with the multi-layering of film. For many years, I have been trying to pack in as many ideas into each film as possible. However, it wasn’t until the digital film revolution that I became aware of the possibility of splitting the screen and doing more complex sound mixes.”
“In Lithuania, I am known as a poet, and they don’t care about my cinema. In Europe they don’t know my poetry; in Europe, I am a filmmaker. But here, in the United States, I am only a maverick!”
“I don’t think there’s any border between science and art. All the fiction films I have made were always on the same subject,—a discovery of the “Other,” an exploration of difference.”
“I think that the Internet is going to effect the most profound change on the entertainment industries combined. And we're all gonna be tuning into the most popular Internet show in the world, which will be coming from some place in Des Moines. We're all gonna lose our jobs. We're all gonna be on the Internet trying to find an audience.”
“I don't set out to make a film as a metaphor. People can read into it what they like, afterwards. The concept is embodied by the story, by the characters, by the context.”
“Men have this photogenius, this blend of robustness and fragility which fascinates me. They bear in them contradictions which make us wonder what they are going to become. It is these contrary tendencies which interest me.”
“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.”
“The reason that I so often tell women’s stories in my movies is because I find it very easy to put myself in their shoes. For me, my identity as a woman does not mean feminism, but a way of thinking and a perspective of looking at the world. I cannot avoid that.”
“I have sought that lost grace in the film-making process, where the material things of the world – money, buildings, sets, plastic, metal, people – disappear into a camera and become nothing but light and shadow flickering on a wall: matter into spirit, the alchemists would say.”