“[explaining how he got the nickname Wagon Wheel Joe] I carried a box filled with different wagon wheels. Whenever I’d come to a scene which was just disgraceful in dialogue and all, I’d place a wagon wheel in one portion of the frame, and make an artistic shot out of it, so by the time the scene was over you only saw the artistic value and couldn’t analyze what the scene was about.”
“I don't think about the audience, I don't think about what makes them happy, because there's no way for me to know. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn't exist.”
“I am wishing for a new fusion of art forms, not going back to the old way -- it's this type of thinking. If we want to go back to the old way, there really isn't much purpose for doing so. This is different from rejecting the artistic value of Peking Opera. The artistic value of Peking opera is in the essence of itself. Taking just a little of Peking opera and putting it in a new form is different from both schools that it originates from.”
“I don't like James Bond. They made him a super hero, but he is just an agent, a human being. In my movies, secret agents are more realistic, I didn't want to portray them in the most glowing colours. ”
“Sometimes they think the way we work is very stylish and romantic, but actually it's the way we can survive and make the films. We can work with the things that we get, but not the things we wish we had.”
“I believe that it doesn't really matter how large an audience my film gets; as long as my films can be shown in China, and there can be any kind of real market for them here, that would be hugely significant for me personally.”
“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.”
“If I can say one thing for my pictures, it is a certain craftsmanship. A thought which has gone into every angle. There is nothing there without an optical reason.”
“You like these films, but you can't imagine how often they represent only fifty percent of what I wanted to do. You have no idea how I had to fight to achieve even that fifty percent.”
“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.”
“As I have said race is a theme that because of my upbringing is incorporated into my existence. The other great issue, poverty, which is very linked to race, is a permanent theme in all my films; it's not possible to think about national identity without including the very serious problem of absolute poverty in some parts of Brazil.”
“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 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.”
“Movie directors, or should I say people who create things, are very greedy and they can never be satisfied...that's why they can keep on working. I've been able to work for so long because I think next time, I'll make something good.”
“I was raised a Catholic and when you're raised a Catholic they don't teach you to think for yourself...you're taught not to think too deeply about things.”