“I feel that cinema should be like a box of surprises, like a magic box. And in that world, anything is allowed to enter, as long as it's always treated with a spirit of 'Pop!'.”
“[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'd love to see more women working as directors and producers. Today it's almost impossible to do it unless you are an actress or writer with power...I wouldn't hesitate right this minute to hire a talented woman if the subject matter were right.”
“The directing of a picture involves coming out of your individual loneliness and taking a controlling part in putting together a small world. A picture is made. You put a frame around it and move on.”
“Cinema Novo stood with the Brazilian utopia. If it is ugly, irregular, dirty, confusing and chaotic, it is also beautiful, disharmonic, luminous and revolutionary.”
“I think that, of all my films, Demons is my favourite – from my father’s work it would be Black Sabbath or Bay of Blood… When you watch Bay of Blood today it doesn’t look as if it was made back in the 1970s.”
“In an era of breadlines, depression and wars, I tried to help people get away from all the misery…to turn their minds to something else. I wanted to make people happy, if only for an hour.”
“The independent world and the studio world are very different. The independent world is about, "Let's get this movie made because it's going to be awesome and we believe in it," and the studio world is about slow business decisions.”