“When you see Filipino films in general they are devoid of humour. I guess it’s reflective of the effects of history and we try to laugh everything off but deep down inside it’s a history of sadness.”
“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?”
“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.”
“I don’t think there’s any border between science and art. All the fiction films I have made were always on the same subject,—a discovery of the “Other,” an exploration of difference.”
“I didn’t necessarily know how to make movies but I was so enamored with the French New Wave at the time that I decided I wanted to start a New York New Wave.”
“I don’t think that you can separate art and politics because politics is life, and if you separate art and politics it means that art has nothing to do with life.”
“I think that the main impact on my work, on the making of this film, came from the intensity of the similarity I felt to Edvard Munch as a man, as an artist, as someone who struggled throughout his life.”
“From the very beginning, even when I’m writing, I think a lot about the sound. Many elements of my work in cinema come from oral storytelling and oral tradition. I think about sound and the rhythm of the sound.”
“There was one thing I detested more than anything, and that was money; first of all, because I was bankrupt; then, because I had been seeing so many examples all around me where money had played a fatal role.”
“As I have said race is a theme that because of my upbringing is incorporated into my existence. The other great issue, poverty, which is very linked to race, is a permanent theme in all my films; it's not possible to think about national identity without including the very serious problem of absolute poverty in some parts of Brazil.”
“[explaining how he got the nickname Wagon Wheel Joe] I carried a box filled with different wagon wheels. Whenever I’d come to a scene which was just disgraceful in dialogue and all, I’d place a wagon wheel in one portion of the frame, and make an artistic shot out of it, so by the time the scene was over you only saw the artistic value and couldn’t analyze what the scene was about.”