Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.
I've been making films since the '70s and trying to develop that best possible fiction-film style that I feel is the most expressive. At a certain point, I felt I was winding up making the same film stylistically and I found that boring.
I was never interested in film. Never. I never even thought of it. I wasn't even a film buff, I didn't see many films ever.
I have made all my films for my children with the exception of my first film because my oldest daughter wasn't born when I was making the film about the Brooklyn Bridge.
When I see films made from books, I make a huge effort not to remember the book. It's important to see the film as a film.
You would be surprised of films that people just don't see. You know what I mean? I'm always working and I'm a film buff but I'm an old school film buff.
Films are neither true nor false. That includes my films, as well as others. They may make claims that are true or false, but films are too complex. They have too many ingredients.
I would have to say I might do some stuff, but it's the film that's appealing. I was raised on film. My musical experience is all via film, it's not from classical music.
'Red Knot' is a film that I shot in Antarctica almost three years ago on a boat. It was a film that was improvised and it had very interesting circumstances while making the film, obviously. We were on a small boat bobbing around in Antarctica. It wa...
The greatest films ever made in our history were cut on film, and I'm tenaciously hanging on to the process. I just love going into an editing room and smelling the photochemistry and seeing my editor wearing mini-strands of film around his neck.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowi...
The secrecy thing has gotten to be more and more prevalent in films, and maybe that's good. It's nice to go see a film and not know anything about it. Sometimes I feel like we know too much about films.
In my early days, I didn't know what a good film or a bad film was, and I was trying to make some money. As it happens I was lucky. I made some good films.
But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.
I didn't know I wanted to do films until I started to do them. Very few films are made in Mexico and film-making belonged to a very specific group, a clique.
It's a matter of pride to me to get the film done fast, to get it done well. I understand the need for compromise. There is no such thing as a perfect shot, a perfect film. The purpose of film is not to make a monument to oneself.
It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.
One of my favourite films is called 'Lacombe Lucien,' directed by Louis Malle. The lead character in that film, like the lead characters in many '70s and '80s films, has a moral ambiguity to him.
I like the variety. But basically my choice of films is a small intimate film. Quiet film, no action, just people in relationships. That's what I like the most.
But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.
I always envisioned working in film and in theater. Theater and film are not, they're not in any way substitutable. What I love about theater is so different from what I love about film, and I enjoy the craft of both.
