“I feel that my work has evolved through Koyaanisqatsi, Chronos and Baraka. Both technically and philosophically I am ready to delve even deeper into my favorite theme: humanity’s relationship to the eternal.”
“Many people went to see MEMORIES more than once, and some returned as many as four or five times. That does not happen with many movies. It makes me think that the film hit its mark, which was, first and foremost, to communicate with the Cuban public, not with audiences from other countries. It achieved its goal in the sense that it disturbed and unsettled its audience; it forced people to think.”
“I've lost all my money on these films. They are not commercial. But I'm glad to lose it this way. To have for a souvenir of my life pictures like Umberto D. and The Bicycle Thief.”
“Why films? Because I am totally crazy. I can’t live without making films. I look at the struggle and misery of contemporary life. And try to say something to the best of my ability.”
“I don’t know why our industry and media gives so much importance to the Oscars. You see it’s very important for Hollywood and foreign films because once one of their films receives an Oscar it goes on to become a big commercial success. Our films won’t get that sort of benefit.”
“You must put the odor of the human body into images...describe for me the implacable, the egoistic, the sensual, the cruel...there are nothing but disgusting people in this world.”
“I believe you have to be born a director. It’s like a child’s adventure: you take the initiative among other children and become a director, creating a mystery. You mould things into shape and create.”
“If someone were to tell me I had twenty years left, and ask me how I'd like to spend them, I'd reply 'Give me two hours a day of activity, and I'll take the other twenty-two in dreams.'”
“I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are. ”
“I was the leader of the Taiwanese new wave. All these guys would just gather in my house, talking and laughing and drinking: Hou Hsiao-hsien, Wu Nien-jen — just about all of them. You could just push open the door. Everyone just wanted to do similar things. We weren’t allowed to, and no one was willing to give us any money to, but we shared all these idealistic thoughts.”
“Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.”