Don't you understand that wanting does not belong here, because that is what wounds, and there is never an end to it.
Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
This is something that I dream about: to live films, to arrive at the point at which one can live for films, can think cinematographically, eat cinematographically, sleep cinematographically, as a poet, a painter, lives, eats, sleeps painting.
I don't film messages. I let the post office take care of those.
I don't think you can in any way export culture with guns or tanks.
I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.
I remember being young in the 1960s. . . we had a great sense of the future, a great big hope. This is what is missing in the youth today. This being able to dream and to change the world.
I didn't really grow up listening to blues, because I grew up in the Northwest. It wasn't really the center for blues.
Physical courage to a person of honour is easier and less risky than acts that could subject him to embarrassment or humiliation or a diminished career or reputation. These things he must live with. To die for honor is an easier thought to bear.
Your body is not who you are. The mind and spirit transcend the body.
I think that voodoo as a spiritual tradition has been demonized for so long in popular culture. I wanted to write against that and write a character who practiced that spiritual tradition who was not evil and intent on creating zombies or causing pain through voodoo dolls or whatever.