“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.”
“It is my duty to direct because the films might be the inner chronicle of what we are, and we have to articulate ourselves. Otherwise we would be cows in the field.”
“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
“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.”
“An artist should be able to create his own autonomous world, but making a film depends on so many extraneous factors that I don’t really think it’s an authentic form of art.”
“I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.”
“What you have now is a Hollywood that is pure poison. Hollywood was a central place in the history of art in the 20th century: it was human idealism preserved. And then, like any great place, it collapsed, and it collapsed into the most awful machinery in…”
“What is attempted in these films is of course a synthesis. But it can be seen by someone who has his feet in both cultures. Someone who will bring to bear on the films involvement and detachment in equal measure.”
“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.”
“My mind was always on the commoners, not on the lords, politicans, or anyone of name and fame. I wanted to convey the lives of down-to-earth people who live like weeds.”
“I believe you have to be born a director. It’s like a child’s adventure: you take the initiative among other children and become a director, creating a mystery. You mould things into shape and create.”
“[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.”