Alexandre Desplat Quotes

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

All these directors, and I would include the Coen brothers and Quentin, have a very unique vision of what they want. They listen to ideas and make people feel like everyone is making the film.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

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

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

I've never been a fan of directors who clutter a piece with all sorts of crazy preconceptions or weird ideas.

When you look at a movie, you look at a director's thought process.

Agnes Varda changed my view of cinema; she directs from an artistic point of view, and a film is most of all the expression of an artistic director. I learnt to enter the world and the imagination of a director.

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

Everything I've ever written, I had a very distinct vision of what I wanted it to look like. But, other directors never do it that way.

You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.

I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.

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

Films are a director's medium. We're all stemming from the director.

Dibakar and Shekhar have the vision that we would associate with European cinema. They leave their actors on their own to give a personal narration on the screen.

When a director shifts gears as often as does Alejandro Gonzalez Inarritu, the man behind the emotionally rich debut film 'Amores Perros,' you may wonder if he knows what he wants.

You can't make a film for your personal satisfaction. That is why I detest the cinema of people like Mani Kaul.

What I like to do with every film is to bring a form, like a cinematographic proposal. If you watch 'S21,' it's a form; 'Duch, Master of the Gates of Hell' is a different proposal.

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 do believe that there are auteurs, in the sense that there are filmmakers with very strong voices and their voices are communicated on to the screen without a lot of compromise.

I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.

Different directors offer you different things, and it's not necessarily the most obvious things.

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

Directing is creating a whole. You're able to combine different elements and create a film that is unique and true to your vision.

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