“The values that once existed no longer exist. The family, the bourgeoisie—I’m talking about values, morals, economic relationships. They no longer serve a purpose. My films are reactions translated into images.”
“[On Badlands (1973)] I tried to keep the 1950s to a bare minimum. Nostalgia is a powerful feeling; it can drown out anything. I wanted the picture to set up like a fairy tale, outside time, like Treasure Island. I hoped this would, among other things, take a little of the sharpness out of the violence, but still keep its dreamy quality.”
“You get trapped by stories. Though I've got this reputation for being out of control, it's not true, it just happens to be a more interesting story than the truth.”
“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 never call myself an animated filmmaker because I am interested not in animation techniques or creating a complete illusion, but in bringing life to everyday objects.”
“I want to regard my public as infinitely intelligent, as understanding notions of the suspension of disbelief and as realizing all the time that this is not a slice of life, this is openly a film.”
“The characters are the result of two things-first, we elaborate them into fairly well-defined people through their dialogue, then they happen all over again, when the actor interprets them. ”
“I wouldn’t wish the eighties on anyone, it was the time when all that was rotten bubbled to the surface. If you were not at the receiving end of this mayhem you could be unaware of it.”
“You just see so many movies that at some point it becomes part of your life...Movies always follow us as reference material or as some kind of dreamlike material for dealing with things we don't understand in our lives. Movies give us solutions, or provide a whispering commentary on what is happening around us.”
“I don't set out to make a film as a metaphor. People can read into it what they like, afterwards. The concept is embodied by the story, by the characters, by the context.”
“With Irma Vep, all of a sudden I decided that it was okay to mix genre, to mix cultures, and that movies sometimes could be experiments, that within the format of modern cinema, within the format of narrative, you could experiment by mixing elements.”