“[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.”
“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.”
“Being able to shoot on videos and commercials — just being on the set, with only a certain amount of time and shots and sequences to do in that amount of time, learning how to work with the crew the physical production and the limitations — is all good training.”
“Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.”
“It is my duty to direct because the films might be the inner chronicle of what we are, and we have to articulate ourselves. Otherwise we would be cows in the field.”
“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.”
“I have sought that lost grace in the film-making process, where the material things of the world – money, buildings, sets, plastic, metal, people – disappear into a camera and become nothing but light and shadow flickering on a wall: matter into spirit, the alchemists would say.”
“People love seeing violence and horrible things. The human being is bad and he can't stand more than five minutes of happiness. Put him in a dark theater and ask him to look at two hours of happiness and he'd walk out or fall asleep.”