“[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.”
“I think cinema has to deal with desire. In the cinema, you are with a big screen, it is dark, and you watch some images, like a fantasy, so I think it is important for you to feel desire for what you see.”
“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.”
“The Dogma Manifesto was a wonderful opportunity to be a team, to unite the country’s filmmakers. But we’ve all sought out other paths, we distanced ourselves from a movement that was becoming a brand, and would have ended up limiting our creativity.”
“I consider my films first and foremost to be dramas about individuals in personal struggles and I consider myself to be a dramatist before I am a political filmmaker.”
“The most difficult thing in the world is to reveal yourself, to express what you have to. As an artist, I feel that we must try many things - but above all we must dare to fail. You must be willing to risk everything to really express it all.”
“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.”
“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. ”
“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.”
“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. ”