“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.”
“I’m a long-term student but also a committed autodidact. Therefore I’m as much interested in the ways people learn things for themselves as in the way they do through dialogue and communication. I like to film the way someone moves who is acquiring a new skill or learning something about the world.”
“I feel that my work has evolved through Koyaanisqatsi, Chronos and Baraka. Both technically and philosophically I am ready to delve even deeper into my favorite theme: humanity’s relationship to the eternal.”
“In my films the landscapes connect the characters to a sense of something cosmic. I try to recapture those moments in life where you suddenly feel that connection to a wider universe.”
“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.”
[About his films] “There is a connection in that all three deal in extreme environments and characters under extreme conflict. I have to say I am most happy with "The Proposition". I've got my reservations on all three but I'm most happy with this one.”
“Comedy just pokes at problems, rarely confronts them squarely. Drama is like a plate of meat and potatoes, comedy is rather the dessert, a bit like meringue.”
“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”
“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.”