Most of my films seem to be about people bewildered by the world around them, who don't fit into it and are trying to understand it.
To read a poem is to hear it with our eyes; to hear it is to see it with our ears.
The Mexican. . . is familiar with death. [He] jokes about it, caresses it, sleeps with it, celebrates it. It is one of his favorite toys and his most steadfast love.
What sets worlds in motion is the interplay of differences, their attractions and repulsions. Life is plurality, death is uniformity. By suppressing differences and pecularities, by eliminating different civilizations and cultures, progress weakens life and favors death. The ideal of a single civilization for everyone, implicit in the cult of progress and technique, impoverishes and mutilates us. Every view of the world that becomes extinct, every culture that disappears, diminishes a possibility of life
Believing ourselves to be possessors of absolute truth degrades us: we regard every person whose way of thinking is different from ours as a monster and a threat and by so doing turn our own selves into monsters and threats to our fellows.
Beyond myself, somewhere, I wait for my arrival.
The supreme value is not the future but the present. The future is a deceitful time that always says to us, 'Not Yet,' and thus denies us. . . Whoever builds a house for future happiness builds a prison for the present.
Positively, the best thing a man can have to do, is nothing, and next to that perhaps — good works.
There is a danger, if you cast someone who is 18, 19 or 20 to play 14 or 15, that very subtly, almost unconsciously, the audience is, "Oh, this isn't so bad. "
Every man has a feminine side, and every woman a masculine side. It is important to use discipline with intuition, and to use intuition with objectivity.
. . . even though you said yes to the wrong man, I hope that won't cause you to say no to the right one.