“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 see a film as a puzzle, with a beginning, middle, and end, but I like to start at the end sometimes. I start with sequences that stimulate the viewer’s intelligence and emotions. You have to strike hard from the beginning and create a depressurizing zone between the viewer’s own life and the one onscreen.”
“Some people are of the opinion that an intellectual should hate power, drink like a cobbler and die of consumption under a fence. Then you are a real artist. But in that case what do we do with Lev Tolstoy?”
“The character on the screen is expressed not through dialogues full of suggestions, not through specially constructed frames, not through the characters’ reasonings about themselves, but through ingenuous action. I analyze people proceeding from their behavior.”
“Any interference by society in an adult’s personal life will be extremely dangerous until society itself becomes ideal. But in the ideal society interference in personal life will obviously be unnecessary.”
“In Eastern Europe, the moral responsibility of the artist is even bigger than in France or in England. I would say that France and England are already largely westernized.”
“...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.”
“Anybody who comes to the cinema is bringing their whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.”
“It isn't easy to accept that suffering can also be beautiful...it's difficult. It's something you can only understand if you dig deeply into yourself.”
“Making a film is so hard that if you don't have your main actors going along with the ride with the rest of the crew it can make your life very difficult.”
“When the wind blows straight to my chest, against me, I have plenty of energy. When the wind blows from my back, that energy disappears. During the period of tight censorship, we struggled with all our might to get our voice heard. But now that everything’s allowed, the strive has vanished. It’s like one French writer once said: an artist must always be a little hungry. Right?”
“Nothing in the world can be compared to the human face. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry.”
“I'm in a unique situation. I'm like now an elderly retired guy who made a lot of money, and now I can just, instead of playing golf, I can make art films.”