“There are lots of different ways to make film. I don’t believe there has to be any orthodox way to making movies, or any rules. It’s what works for the filmmaker, and, theoretically, the audience.”
“As soon as I see “based upon a true story” at the beginning of a film, I always I think that it must be full of lies. The difference is not really about whether the events happened or not. It’s that in the fictions, reality is already put into a certain shape, and this structure has always appealed to me throughout my career. I found it easier to move from there into a movie rather than being confronted with the total complexity of reality.”
“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.”
“[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 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.”
“Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.”
“Films can illustrate our existence…they can distress, disturb and provoke people into thinking about themselves and certain problems. But NOT give the answers.”
“I use it [hand-held-camera] in order to enable actors to move around freely because I want them to be truthful at all times and that means they should be able to move and not be bound by a fixed camera position. I think if it's used for style it's a mistake. It's there to do something very specific.”