We always regret that we did not ask our parents more, really get to know them while they were alive.
I dream about doing a film about once a week.
Writing is boring, very boring, and it takes so much patience.
I'm very, very lazy. I love to sit in a chair and look out the window and do nothing.
I throw a spear into the darkness. That is intuition. Then I must send an army into the darkness to find the spear. That is intellect.
I make all my decisions on intuition.
I don't watch my own films very often. I become so jittery and ready to cry... and miserable. I think it's awful.
When we came out from the Elysee palace, there was a gigantic limousine waiting for us and four police on motorcycles. It is probably one of the few times I have experienced my fame. I thought it was so fantastic that I laughed to the point of shouting.
The only thing I consider appalling would be to suddenly become a vegetable and a burden on other people. A soul slowly dying out, trapped in a body in which the insides gradually sabotage me - that, I think, would be terrifying.
When I'm on Faro, I'm never lonely.
Mother was actually a great doer and organizer. All the special occasions were directed by mother.
I had a bad conscience until I discovered that having a bad conscience about something so gravely serious as leaving your children is an affectation, a way of achieving a little suffering that can't for a moment be equal to the suffering you've caused.
I usually say I left puberty at 58.
I haven't put an ounce of effort into my families. I never have.
Not a day has gone by in my life when I haven't thought about death.
The demons are innumerable, appear at the most inconvenient times, and create panic and terror. But I have learnt that if I can master the negative forces and harness them to my chariot, then they can work to my advantage.
I am autobiographical in the way a dream transforms experience and emotions all the time.
I am very shy with people I don't know.
I hate to travel. I don't go anywhere.
For me, the human face is the most important subject of the cinema.
I always work with 18 friends.
Everything is worth precisely as much as a belch, the difference being that a belch is more satisfying.
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 hope I never get so old I get religious.
The doors between the old man today and the child are still open, wide open. I can stroll through my grandmother's house and know exactly where the pictures are, the furniture was, how it looked, the voice, the smells. I can move from my bed at night today to my childhood in less than a second.
I write scripts to serve as skeletons awaiting the flesh and sinew of images.
On a personal level, there are many people who have meant a great deal to me. My father and mother were certainly of vital importance, not only in themselves but because they created a world for me to revolt against.
People ask what are my intentions with my films - my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct.
The individualists stare into each other's eyes and yet deny each other's existence. We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy.
Aging is not uncomplicated. Creativity is an extraordinary help against destructive demons.
I was bloody ill-tempered when I was young.
Life wasn't about freeing up human souls. It was about creating obedient slaves in the hierarchical construction of the society - with God at the top, then the king and then the father.
My education was very tough.
My pictures are always part of my thinking, and my emotions, tensions, dreams, desires.
If I let myself go, nothing will get done.
I was booed at the premiere of 'Miss Julie,' a remarkably stimulating experience.
I have always appreciated the honest brutality of the international film world. One need never doubt one's worth in the market. Mine was zero.
In 'The Serpent's Egg,' I created a Berlin which no one recognized, not even I.
Sometimes, I probably do mourn the fact that I no longer make films.