“The body always plays an important role in my films. You could say the body is the most beautiful thing we have or you could say it’s the ugliest thing we have. We can sell bodies, we can adore or worship bodies.”
“The impetus was the whole Civil Rights Movement and we felt we had a responsibility to reflect reality, tell the truth about the black community. To help, however we can, to march the social movement forward.”
“When I finish a film, I feel like I have overcome a certain hurdle. It's really good for me as a human being, and I hope that for some people, my films will do the same thing.”
“I believe that it doesn't really matter how large an audience my film gets; as long as my films can be shown in China, and there can be any kind of real market for them here, that would be hugely significant for me personally.”
“There are lots of different ways to make film. I don’t believe there has to be any orthodox way to making movies, or any rules. It’s what works for the filmmaker, and, theoretically, the audience.”
“My only advice is to spend less time on thinking about success and put all the energy in making art itself. Otherwise your relationship to your art changes. It becomes less genuine and honest. Art should not be born from a pressure of becoming successful but something deeper. This is always a danger and the cause for mediocrity in art.”
“If there are ‘narrative cinema’ elements in my films I don’t want them to take you ‘elsewhere’ but to keep you here watching the film, a construct, an artificiality.”
“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.”
“It isn't easy to accept that suffering can also be beautiful...it's difficult. It's something you can only understand if you dig deeply into yourself.”
“The most difficult thing in the world is to reveal yourself, to express what you have to. As an artist, I feel that we must try many things - but above all we must dare to fail. You must be willing to risk everything to really express it all.”
“I, as a filmmaker, treat my works as I do my own sons or daughters. I don't care if people are fond of them or despise them, as long as I created them with my best intentions and efforts.”
“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.”