“One of the happiest times in my life was during "The Sterile Cuckoo," mostly because of Liza. I've never seen anybody get more joy out of working and it's contagious.”
“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”
“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.”
“He knows how to create a strange world, whose elements are borrowed from daily life...His characters emerge like his own children, created from fragments of his own heart and mind.”
“If someone were to tell me I had twenty years left, and ask me how I'd like to spend them, I'd reply 'Give me two hours a day of activity, and I'll take the other twenty-two in dreams.'”
“One of my art teachers put me onto trying to find my own art theory. After many morning walks…an idea hit me that seemed like a complete revelation. It was to compose motion, just as musicians compose sound. [The idea] was to lead me far, far away from wanting to excel in…traditional art.”
[On one of his most famous characters] "The coyote is victimized by his own ineptitude. I never understood how to use tools and that's really the coyote's problem."
“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 am really unable to talk about my life – I don’t know my life. I’ve travelled a lot and this is the life that I have lived, but that doesn’t mean that I know myself.”
“I was knocking myself out to make this stuff. And I always assumed that people would see this and have pity and give me a little support. [shouts] They didn’t!”
“The cinema of Hollywood is a cinema of exclusion, reduction and denial, a cinema of repression. There is always something behind that which is being represented, which was not represented. And it is exactly that that is most interesting to consider.”