“If you’re making a film, it’s more honest to make your presence felt than to hang back furtively on the other side of the room, because no-one really benefits from that. That approach really is, to use the dread word, voyeuristic. You’re there with all your equipment, but pretending you’re not there.”
“Each scene should feel right, should be true at that moment, and gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that’s interesting.”
“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.”
“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.”
“You get trapped by stories. Though I've got this reputation for being out of control, it's not true, it just happens to be a more interesting story than the truth.”
“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.”
“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 never call myself an animated filmmaker because I am interested not in animation techniques or creating a complete illusion, but in bringing life to everyday objects.”
“The whole thing about making films in an organic film location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across”