“People often think storytelling is easy for me. But I really sweat over it: I agonize over every frame, the timing of every action, whether the gag is working or not.”
“I don’t think it’s possible for special effects to overwhelm the story if it is a strong story. There are too many films that have been made where special effects are holding up a lousy story, or poor performances or poor direction. But as long as the direction is solid and the concept of the film is solid, special effects can’t do anything but enhance.”
“When the wind blows straight to my chest, against me, I have plenty of energy. When the wind blows from my back, that energy disappears. During the period of tight censorship, we struggled with all our might to get our voice heard. But now that everything’s allowed, the strive has vanished. It’s like one French writer once said: an artist must always be a little hungry. Right?”
“Comedy is a dangerous business. If people find something funny you’re okay. But the moment you do something that’s meant to be funny and someone doesn’t find it funny, they become angry. It’s almost as if they resent the fact that you tried to make them laugh and failed.”
“I wanted to invent some kind of American dance that was danced to the music that I grew up on: Cole Porter and Rodgers and Hart and Irving Berlin. So I evolved a style that certainly didn’t catch on right away.”
[On one of his most famous characters] "The coyote is victimized by his own ineptitude. I never understood how to use tools and that's really the coyote's problem."
“Everything that I've done so far has had a bigger budget than the last, but I've never ever felt the benefit of the bigger budget because the ideas always exceed the budget. ”
“I didn’t want to make ‘high’ art, I had no interest in using paint, I wanted to find something that anyone could relate to without knowing about contemporary art. I wasn’t thinking in terms of precious prints or archival quality; I didn’t want the work to seem like a commodity.”