“I've lost all my money on these films. They are not commercial. But I'm glad to lose it this way. To have for a souvenir of my life pictures like Umberto D. and The Bicycle Thief.”
“Making a movie is so hard, you'd better make movies about something you really know about. And even more, it's really good to make movies about things you need to figure out for yourself, so you're driven the whole way through. It's going to make things more crucial for you.”
“I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.”
“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.”
“I became so enchanted with the new medium of sound cartoons that I gave up the seventy-five dollars a week to join Warner Bros. cartoons for ten dollars a week.”
“Our battle, our struggle, is to create art. Our weapon is the moving picture...we are scientists engaged in the creation of memory... but our memory will neither blur nor fade.”
“Comedy just pokes at problems, rarely confronts them squarely. Drama is like a plate of meat and potatoes, comedy is rather the dessert, a bit like meringue.”
[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."
“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.”
“Being able to shoot on videos and commercials — just being on the set, with only a certain amount of time and shots and sequences to do in that amount of time, learning how to work with the crew the physical production and the limitations — is all good training.”
“The characters are the result of two things-first, we elaborate them into fairly well-defined people through their dialogue, then they happen all over again, when the actor interprets them. ”