“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.”
“There is probably no moment in picturemaking that is more acutely essential to a director’s success than the instant of his choice of story material. For the director, that is the moment of conception.”
“If tomorrow I have to quit filmmaking, I will. I’m not going to sell my house for a project, that’s for sure. If I have to go back and work on my family’s farm, fine. I don’t have any problem with it. But I would cry a lot.”
“It is the dividing lines that make one’s public. And the dividing lines end up in one way or another being lines which correspond to the lines of class, and class struggle.”
“It is the dividing lines that make one’s public. And the dividing lines end up in one way or another being lines which correspond to the lines of class, and class struggle.”
“If you don't risk yourself and the people with whom you're working in almost every shot you make, it's not good, it's useless, it's just another film.”
“...my work has a coherence within its incoherence because I've decided to work with elements that I know to the core, to work with characters and settings I've lived with.”
“But in all, I don't like to engage in telling stories. I don't like to arouse the viewer emotionally or give him advice. I don't like to belittle him or burden him with a sense of guilt. These are the things I don't like in the movies.”