“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've always felt more politically comfortable making films that demonstrated problems and didn't tell you how to solve them, but made you feel enough for the subjects who were hurt by these problems...”
“I don't know how much movies should entertain. To me I'm always interested in movies that scar. The thing I love about JAWS is that I've never gone swimming in the ocean again.”
“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.”
“I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.”
“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.”
“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
“[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.”
“Movie directors, or should I say people who create things, are very greedy and they can never be satisfied...that's why they can keep on working. I've been able to work for so long because I think next time, I'll make something good.”