“[On Badlands (1973)] I tried to keep the 1950s to a bare minimum. Nostalgia is a powerful feeling; it can drown out anything. I wanted the picture to set up like a fairy tale, outside time, like Treasure Island. I hoped this would, among other things, take a little of the sharpness out of the violence, but still keep its dreamy quality.”
“I don't know how much movies should entertain. To me I'm always interested in movies that scar. The thing I love about JAWS is that I've never gone swimming in the ocean again.”
“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.”
“The soundscape is fifty percent of the experience. Any kid can nowadays easily point out where and how you’ve made certain visual effects, but very rarely what they’ve experienced with their ears. This is still an enormous orchestra to conduct, which is in the dark for the audience.”
“A lot of people cry at the end of the movie. Some people come out and smoke a cigarette. Some people go for a walk or a cigarette in the middle of the movie. Each person handles the movie as he wants...”
“The necessity to conceptualize has to come very early on, and defining a vector of development for that film also at the beginning of the process will allow you much more freedom as you go along.”