“[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.”
“You just see so many movies that at some point it becomes part of your life...Movies always follow us as reference material or as some kind of dreamlike material for dealing with things we don't understand in our lives. Movies give us solutions, or provide a whispering commentary on what is happening around us.”
“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.”
“Anybody who comes to the cinema is bringing their whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.”
“I'm in a unique situation. I'm like now an elderly retired guy who made a lot of money, and now I can just, instead of playing golf, I can make art films.”
“You have to show violence the way it is. If you don't show it realistically, then that's immoral and harmful. If you don't upset people, then that's obscenity.”
“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.”
“As best you can, love, hope and be patient. And maybe to suffer is not bad. We must have sadness and grief because we are alive. We must endure hardness. That is the best there is. To know you are very small and life is very difficult and it is all beautiful, beautiful, beautiful… because you are alive.”
“Comedy just pokes at problems, rarely confronts them squarely. Drama is like a plate of meat and potatoes, comedy is rather the dessert, a bit like meringue.”
“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 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.”