“I feel as though I have lived many lives, experienced the heights and depths of each and like the waves of the ocean, never known rest. Throughout the years, I have looked always for the unusual, for the wonderful, for the mysteries at the heart of life. ”
“What I have learned from my work up to now, is to try to be open, but also protect myself by not letting the good and the evil get too much importance.”
“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.”
“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.”
“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”
“The most difficult thing in the world is to reveal yourself, to express what you have to. As an artist, I feel that we must try many things - but above all we must dare to fail. You must be willing to risk everything to really express it all.”
“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.'”
“[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.”
“My conception of it was that in a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end. ”
“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.”
“What's important for me in a film is that it be alive, that it be imbued with presence, which is basically the same thing. And that this presence, inscribed within the film, possesses a form of magic. There's something profoundly mysterious in this.”