“Despite the fact that I love story, character and dialogue, when I isolate the primary elements of film I find photography, movement and sound recording — in that order. Only then do I consider dramatic action. Film is essentially graphic for me.”
“I like working in a really private way. I mean, we got as far as a cut of [Old Joy] without speaking to any kind of lawyer or anything. We got into Sundance before we thought we should form a company. Aside from a lot of sound work and stuff still to go, it was all very private, and that’s a dream for me.”
“I, as a filmmaker, treat my works as I do my own sons or daughters. I don't care if people are fond of them or despise them, as long as I created them with my best intentions and efforts.”
“From the very beginning, even when I’m writing, I think a lot about the sound. Many elements of my work in cinema come from oral storytelling and oral tradition. I think about sound and the rhythm of the sound.”
“I was embarrassed for years to let anyone know I had won an Academy Award for The Connection. That wasn’t really a prize I wanted to win. I was happy to say that The Connection got a prize at Cannes. I was happy to say that The Cool World was the first independent film to play in Venice.”
“We don't perceive a contradiction between writing books, making films or producing a television program. These days you can't choose how you want to express yourself anymore.”
“What I try to do, with the actors' consent, is to create something by beginning with a set situation that we can deviate from in the course of the shoot. ”
“I perceive 'Pierre' (Pola X) in the same way that I perceive my own life: I understand both 'poorly' but I’m obliged to explore them. That’s what a project is: a heavy question mark. You’re the dot under that mark and you mustn’t let it crush you.”
“It isn't easy to accept that suffering can also be beautiful...it's difficult. It's something you can only understand if you dig deeply into yourself.”