[on his film, Nizza] “In this film, by showing certain basic aspects of a city, a way of life is put on trial. The last gasps of a society so lost in its escapism that it sickens you and makes you sympathetic to a revolutionary solution.”
“Everything that I've done so far has had a bigger budget than the last, but I've never ever felt the benefit of the bigger budget because the ideas always exceed the budget. ”
"My father made the first Black Power film in 1971. But more than a decade earlier, you have Orfeu Negro, which showed people of colour with three-dimensional humanity. It didn't take on race issues, and this was revolutionary. In America, we were making films that were very conscious of class and race and struggle. The film ignores the whole race question. It shows people having a self-sufficient life that doesn't depend on a white person giving them their rights. My goodness, what a wonderful piece of cinema. I first saw it as a kid and it made quite an impression - so lush and colourful and rich. It shaped my vision and still holds up." —Mario Van Peebles
“I wanted to make a fake Paris, a Paris of dreams, like in my head when I was twenty and I arrived in Paris for the first time. I wanted to avoid the bad things: traffic jams, dog shit on the street, the rain.”
“I cannot just make a film and walk away from it. I need that creative intimacy, and quite frankly, the control to execute my visions, on all my projects.”
“The directing of a picture involves coming out of your individual loneliness and taking a controlling part in putting together a small world. A picture is made. You put a frame around it and move on.”
“I'm in a unique situation. I'm like now an elderly retired guy who made a lot of money, and now I can just, instead of playing golf, I can make art films.”
"Primarily known for his Westerns, Mann portrayed a world of violence against some of the most striking natural vistas in cinema history. His crime films are gritty and real, and all his work reflects an exploration of the complex psychology of the human soul." —William R. Meyer (The Film Buff's Catalog, 1978)
“Make 'em redecorate your office. That's primary, to let them know where you stand. Then, when you're shooting interior sequences, use your own interior decorator and set dresser. That way everything on the set will fit your house when you're finished.”
“You get trapped by stories. Though I've got this reputation for being out of control, it's not true, it just happens to be a more interesting story than the truth.”
“People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at. ”