“I was the leader of the Taiwanese new wave. All these guys would just gather in my house, talking and laughing and drinking: Hou Hsiao-hsien, Wu Nien-jen — just about all of them. You could just push open the door. Everyone just wanted to do similar things. We weren’t allowed to, and no one was willing to give us any money to, but we shared all these idealistic thoughts.”
“I was raised a Catholic and when you're raised a Catholic they don't teach you to think for yourself...you're taught not to think too deeply about things.”
“Cinema Novo stood with the Brazilian utopia. If it is ugly, irregular, dirty, confusing and chaotic, it is also beautiful, disharmonic, luminous and revolutionary.”
“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.”
“In Lithuania, I am known as a poet, and they don’t care about my cinema. In Europe they don’t know my poetry; in Europe, I am a filmmaker. But here, in the United States, I am only a maverick!”
“My luck was my father not striking oil... we'd have been rich. I'd never have set out for Hollywood with my camera, and I'd have had a lot less interesting life.”
“The values that once existed no longer exist. The family, the bourgeoisie—I’m talking about values, morals, economic relationships. They no longer serve a purpose. My films are reactions translated into images.”
“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.”
“What's important for me in a film is that it be alive, that it be imbued with presence, which is basically the same thing. And that this presence, inscribed within the film, possesses a form of magic. There's something profoundly mysterious in this.”