“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.”
“I’d obviously like to find my own way and not be considered an imitator. Some have claimed my style is a new neorealism. But neorealism is of course a style that is connected to an earlier period of Italian cinema. I do owe a great debt to those directors — to Rossellini and many others.”
“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.”
“I, as a filmmaker, treat my works as I do my own sons or daughters. I don't care if people are fond of them or despise them, as long as I created them with my best intentions and efforts.”
“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 you have now is a Hollywood that is pure poison. Hollywood was a central place in the history of art in the 20th century: it was human idealism preserved. And then, like any great place, it collapsed, and it collapsed into the most awful machinery in…”
“[Cinema] it’s the celebration of the Lumière Brothers. That is: since the Lumière period, what has come out of it? If you exclude that minimum of "self-fright” sought at all costs, or that hint of bewilderment in certain African tribes, at the sight of that train. The Lumières… I think their commemoration goes on since 19th century. The same one which has been perpetuated.”
“I was raised a Catholic and when you're raised a Catholic they don't teach you to think for yourself...you're taught not to think too deeply about things.”
“In my film work it is always important to have a completely authentic way of describing people’s situations. I use people’s own personal experience, their surroundings and the way they lived.”
“[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.”
“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.”