“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.”
“I am not a politician, I am a filmmaker, and although you should be able to distance yourself from your own work and be objective about it, there is so much of your own personal emotions and involvement put into a film.”
“I always ask myself one question: what is human? What does it mean to be human? Maybe people will consider my new films brutal again. But this violence is just a reflection of what they really are, of what is in each one of us to certain degree.”
“I wanted to make a fake Paris, a Paris of dreams, like in my head when I was twenty and I arrived in Paris for the first time. I wanted to avoid the bad things: traffic jams, dog shit on the street, the rain.”
“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. ”
“In France, a director has the final cut by law. In Hollywood it is very difficult to have a certain respect when you are doing the film. I prefer to do small things in Europe and have a cool life.”
“From the moment I enter the movie theater and the lights go out and the first images come up on the screen, I’m very happy about the fact that that film exists and I feel a great warmth toward it – even if, in the end, it turns out that it’s not a particularly good film.”
“As I originally developed [AKIRA], I used each issue to build more depth and size into this mammoth city [Neo-Tokyo]. I kept trying to achieve this by creating a variety of situations to stage the graphic storytelling. But with film you get to combine all this into one and I think that it is much more convincing on film than in a serialised comic strip.”