“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.”
“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.”
“So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point. ”
“It's a misconception about acting that it's a practice in pretending to be someone else. It's actually a practice in finding the character within yourself.”
“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.”
“The filmmakers that I have always admired, Altman, Godard, etc., have all been obsessed with the multi-layering of film. For many years, I have been trying to pack in as many ideas into each film as possible. However, it wasn’t until the digital film revolution that I became aware of the possibility of splitting the screen and doing more complex sound mixes.”
“If someone were to tell me I had twenty years left, and ask me how I'd like to spend them, I'd reply 'Give me two hours a day of activity, and I'll take the other twenty-two in dreams.'”
“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.”