“I was not a technical person - I was never a technical person. I have always liked the more artistic side of things and I did get a lot of inspiration and knowledge from studying painting - that was very important.”
“Sometimes they think the way we work is very stylish and romantic, but actually it's the way we can survive and make the films. We can work with the things that we get, but not the things we wish we had.”
“When reading a script, I try to find the essence of each scene and what it can contribute to the subject as a whole. I then dream about my film. I work while lying down on my sofa, as if at a session with a psychoanalyst. Danis, the patient, relates his story to Tanovic, the psychologist. Visions appear to me with such precision that I can then shoot and edit them very quickly.”
“Theaters are always going to be around, and doing fine. With computers and technology, we’re becoming more and more secluded from each other. And the movie theater is one of the last places where we can still gather and experience something together. I don’t think the desire for that magic will ever go away.”
“It's not just putting people with disabilities in the movies - it's putting them in and letting them be a wide range of characters. Some of them are funny, some of them are not, some of them are nice, some of them are jerks. They're just like everybody else. If a guy came up to us and he was physically disabled or something and he was mad at us for something we did, it would kill us. Me or Pete - it would kill us.”
“There’s no such thing as “an auteurist filmmaker.” Every film directors is an auteur. We only make films that we do because we cannot put on clothes that don’t fit us.”
“I used to cry when I watched Chaplin’s films. It was from him that I learned about the role of the underdog. And because I’m also from a poor family, this kind of thing moved me and I found that it also worked for the audience because most of them are like me – ordinary guys.”