“Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.”
“If I can say one thing for my pictures, it is a certain craftsmanship. A thought which has gone into every angle. There is nothing there without an optical reason.”
“I look for very strong visual unity by using a type of framing and camera movement that is very simple. Everything
must come from inside. It mustn’t be superficial. I hate weird camera angles and distorting lenses.”
“I’m a multi-faceted, talented, wealthy, internationally famous genius. I have an IQ of 190 — that’s supposed to be a genius. People don’t like that. My answer to all my critics is simple: I like me. I like what I’ve become. I’m proud of what I’ve achieved, and I don’t really believe I’ve scratched the surface yet.”
“I like working in a really private way. I mean, we got as far as a cut of [Old Joy] without speaking to any kind of lawyer or anything. We got into Sundance before we thought we should form a company. Aside from a lot of sound work and stuff still to go, it was all very private, and that’s a dream for me.”
“For me, distance montage opens up the mysteries of the movement of the universe. I can feel how everything is made and put together; I can sense its rhythmic movement.”
“[Cinema] it’s the celebration of the Lumière Brothers. That is: since the Lumière period, what has come out of it? If you exclude that minimum of "self-fright” sought at all costs, or that hint of bewilderment in certain African tribes, at the sight of that train. The Lumières… I think their commemoration goes on since 19th century. The same one which has been perpetuated.”
“The whole thing about making films in an organic film location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across”
“If you don't risk yourself and the people with whom you're working in almost every shot you make, it's not good, it's useless, it's just another film.”