Jacques Rivette Quotes

I'd love to do a Michel Gondry film. That would be ideal! I'd love to do an Almodovar film; you know, I think he's very, very talented. I don't care that people say he's pretentious. So what? He's a good director; he can be pretentious.

I like David Lynch; I like Stanley Kubrick. I'm a big fan of Kubrick.

I think that David Lynch, he lives in a zone, and he expresses that zone to us with everything he does.

With 'Mask,' 'Smooth Talk' and 'Blue Velvet,' I loved the specific experiences so much. Each one was a specific filmmaker with a specific vision.

'Barton Fink' owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.

My favorite movies are from directors that have a vision, like Wes Anderson or Tim Burton.

'Twin Peaks' without David Lynch is like a dog without a bark.

With Quentin Tarantino, he makes movies imagining himself as the audience. To be specific and true to what he wants resonates to people who like his movies.

I knew Spike Jonze would do something really interesting with it.

Many people who have watched 'Pieta' have said my filmmaking has become more objective.

I can't summarize my favorite movie, Jacques Tati's 'Play Time.' You just have to see it.

Working with David Lynch was like taking a bullet. A gun at you. 'Lost Highway' is, I think, one of the best films I've ever been in. It'll endure a long, long time.

I didn't want people to sit there and watch 10 minutes of film, and all they write about is 48 frames.

The movies that are made more thoughtfully or made or with more ambition often get just get drowned out by the noise.

I was very inspired by Les Blank's film 'Burden of Dreams.' I think what's unique about his film and the two I've made is that they're close examinations of filmmakers and how their own emotional experiences reflect in the material they're rendering, and vice versa - how that material sometimes colors their own lives.

I saw David Lynch's 'The Elephant Man' when I was 15. I was completely bowled over. I found it so beautiful, strange and mesmerizing that I went back to the cinema every night for a week to see it.

I really wanted to write the way Kubrick makes films - 'Strangelove,' '2001', 'Clockwork Orange', 'Barry Lyndon' - they're all so different.

I mean, '8½' to me is such a great dissertation on the whole, you know, act of filmmaking and creativity.

I wanted to work with Bryan Singer because I like his films.

There is often a great disparity between a director's personal style and the movies he makes.

I'm glad movies aren't going to please everybody, they can't. But what they have to be is recognisable. I don't equate myself with a master painter, but I think you can recognise my films.

The movies I respond to are by guys like the Coen brothers and Edgar Wright, where it's hard to fit them into any one box.

Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.

I don't approach films purely in context of genre.

Film is my first love. It wasn't something I intended to fall in love with, but I grew to love it.