“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.”
“I studied philosophy because it demands an intellectual outlook on the world [...] But I soon discovered that philosophy was too subjective: it lacks heart, it’s over-intellectual, and I found that it made me cut myself off from the everyday.”
“Is whether they get married in the end really all you want to know? Look, really, there is no film that ends badly, and the audience enters into happiness at the hour appointed on the program.”
“I’m not like other directors who don’t allow their actors to watch. I let them have one scene their way, one for me, then allow them to compare. I don’t choose actors for their appearance or ability in dancing or whatever, but because of their intelligence.”
“What I try to do, with the actors' consent, is to create something by beginning with a set situation that we can deviate from in the course of the shoot. ”
“When you have to live with something for so many years, the film becomes indistinguishable from what you think of as your life. I’m sure there’s a danger to that. But there are also great things that can come from that.”
“...our wars of machines and technology make 'progress' ever more impersonal and deadly - a 'progress' that has not guaranteed man's human, moral, and civil growth.”
“The whole thing about making films in an organic film location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across”