“I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.”
“I formulated my own directing style in my own head, proceeding without any unnecessary imitation of others… For me there was no such thing as a teacher. I have relied entirely on my own strength.”
“For me, the present is a golden era that’s ending too. That’s the greatest golden era. Right now. [Laughs.] I just like pining for lost times. I can pine for this morning.”
“People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at. ”
“Make 'em redecorate your office. That's primary, to let them know where you stand. Then, when you're shooting interior sequences, use your own interior decorator and set dresser. That way everything on the set will fit your house when you're finished.”
“I am often asked how I moved from abstract films to Finnegan’s Wake? It’s plausible …Joyce’s premise: ‘One great part of every human existence is passed in a state which cannot be rendered sensible by the use of wide-awake language, cut-and-dry grammar and go-ahead plot’ is, like abstract films, about our ‘inner’ landscape. Joyce, like Whitman, and much Art, is about the essence of our Being; so, we’re traveling on the same terrain.”
“[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.”
“There’s almost a fear that if you understood too deeply the way you arrived at choices, you could become self-conscious. In any case, many ideas which are full of personal meaning seem rather banal when you put words to them.”
“I look for very strong visual unity by using a type of framing and camera movement that is very simple. Everything
must come from inside. It mustn’t be superficial. I hate weird camera angles and distorting lenses.”