“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.”
“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 wanted to make a fake Paris, a Paris of dreams, like in my head when I was twenty and I arrived in Paris for the first time. I wanted to avoid the bad things: traffic jams, dog shit on the street, the rain.”
“I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are. ”
“At some point or another we realize that we’ll be alone for our entire lives. Alone in our minds. No one else can get inside there and truly see what’s going on.”
“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.”
“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.”
“Horror is the future. And you cannot be afraid. You must push everything to the absolute limit or else life will be boring. People will be boring. Horror is like a serpent; always shedding its skin, always changing. And it will always come back. It can't be hidden away like the guilty secrets we try to keep in our subconscious.”