“You look at the industry; they’re distorting everything, its very escapist. It’s all about vanity, about making money, about seeking fame and fortune.”
“I told myself not to be concerned with what a documentary “should be like”, or to worry about the meaning of “vérité” or “truth.” Both a documentary and a feature are films observing different sets of rules.”
“The values that once existed no longer exist. The family, the bourgeoisie—I’m talking about values, morals, economic relationships. They no longer serve a purpose. My films are reactions translated into images.”
“There are lots of different ways to make film. I don’t believe there has to be any orthodox way to making movies, or any rules. It’s what works for the filmmaker, and, theoretically, the audience.”
“You don’t necessarily need a script or actors to tell a compelling tale. Finding a person at a key moment in his life and rendering the truth as you see it—that’s the truest form of drama.”
“I made films because I wanted to make films. I didn’t do it with the intention of giving the audience a message. The act of making a film is a social act.”
“Much of _Repentance_ consists of images I have seen in my dreams. I am certain that it was through dreams that my unconscious forced the story to the surface so that I would film it.”
“With the Ford Foundation grant all of a sudden instead of being an artist that had made a couple of short films, I became a filmmaker who dabbled in the arts.”
“I love silence. Silence is a powerful tool in cinema language. It gives space for the imagination and contemplation. Silence is not a hole in a soundtrack. It has many colours and meanings.”
“[Cinema] it’s the celebration of the Lumière Brothers. That is: since the Lumière period, what has come out of it? If you exclude that minimum of "self-fright” sought at all costs, or that hint of bewilderment in certain African tribes, at the sight of that train. The Lumières… I think their commemoration goes on since 19th century. The same one which has been perpetuated.”