“I formulated my own directing style in my own head, proceeding without any unnecessary imitation of others… For me there was no such thing as a teacher. I have relied entirely on my own strength.”
“But in all, I don't like to engage in telling stories. I don't like to arouse the viewer emotionally or give him advice. I don't like to belittle him or burden him with a sense of guilt. These are the things I don't like in the movies.”
“The impetus was the whole Civil Rights Movement and we felt we had a responsibility to reflect reality, tell the truth about the black community. To help, however we can, to march the social movement forward.”
“Paris, which had always amused me on holiday, was too lovely… Emigration was no hardship, it was an outing. It offered the shining wet boulevards under the street lights, breakfast in Monmartre with cognac in your glass, coffee and lukewarm brioche, gigolos and prostitutes at night… Everyone in the world has two fatherlands: his own and Paris.”
“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.”
“Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.”
“What I try to do, with the actors' consent, is to create something by beginning with a set situation that we can deviate from in the course of the shoot. ”
“With Irma Vep, all of a sudden I decided that it was okay to mix genre, to mix cultures, and that movies sometimes could be experiments, that within the format of modern cinema, within the format of narrative, you could experiment by mixing elements.”
“Sometimes they think the way we work is very stylish and romantic, but actually it's the way we can survive and make the films. We can work with the things that we get, but not the things we wish we had.”
“If I can say one thing for my pictures, it is a certain craftsmanship. A thought which has gone into every angle. There is nothing there without an optical reason.”
“You like these films, but you can't imagine how often they represent only fifty percent of what I wanted to do. You have no idea how I had to fight to achieve even that fifty percent.”
“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.”