“I refer to my work as being cinematographic poetry and that’s why I love that layering, those superimpositions, right from the beginning of my filmic work.”
“[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.”
“North american cinema is the only true weapon of mass destruction. It has achieved to convince the audience not only that it's the best possible cinema, but that it is the only.”
“Making a film is a lot of headaches; takes a lot and a lot of time and you yourself might change your views on the world and the state of things many times during the whole process... but you can create a world that has an opportunity to stand (at least for couple of hours) as equal to that world we inhabit. I believe that to be of some value.”
“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.”
“What I try to do, with the actors' consent, is to create something by beginning with a set situation that we can deviate from in the course of the shoot. ”
[On making 'Blue Valentine'] “There was one day where we were shooting on the bus. That's a bit of a movie trope - the encounter on a bus - and yet when we shot that scene, we had a rainbow come out of nowhere. When stuff like that happens, and I know it sounds kind of corny, but you really feel that you are doing the right thing at the right time.”
“The visual aspect of my films is very important and in three feature films I did the photography myself, and I'm not even talking about the documentary films that I made. I must admit I never wanted to be a director.”