“[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 always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are. ”
“I don’t start with a philosophical or thematical approach. Instead I often start with a genre that’s relatively easy to understand and then explore how I want to work in that genre.”
“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.”
“You have to show violence the way it is. If you don't show it realistically, then that's immoral and harmful. If you don't upset people, then that's obscenity.”
“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.”
“I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.”
“Despite the fact that I love story, character and dialogue, when I isolate the primary elements of film I find photography, movement and sound recording — in that order. Only then do I consider dramatic action. Film is essentially graphic for me.”