Yorgos Lanthimos Quotes

How did it make you feel?

It is, as Mr. Rokesmith says, a matter of feeling, but Lor how many matters ARE matters of feeling!

I have always said and felt that true enjoyment can not be described.

I don't really care if people get upset. I think I'm doing my job if people get upset; I want them to think! We all want them to think, hopefully.

I just can't feel lukewarm about a character. I either despise her, admire her, or don't understand her and want to understand her.

People will feel the way they feel.

Now hatred is by far the longest pleasure; men love in haste but they detest at leisure.

Hating a book is not unlike hating a person; in fact it's tempting to just go ahead and hate the author personally, by proxy, qua human being, except that I know that would be a mistake.

The fact is that you're never gonna believe any of the reviews, because the movie is to you what it is to you. No one's ever gonna sway you from what you feel about it.

There's so much to argue about. That was the goal with 'Really Really.' Somebody asked me once, 'How should I feel when I leave?' and I said, 'Hopefully, you're talkative.' I don't really care if you're happy or sad or loved it or hated it or hate me. The goal is that you have something to say, that you have a response.

The pleasure we feel in criticizing robs us from being moved by very beautiful things.

I've just got face: he looks like a brat. The 'I don't like face.' That's how I see it. And I'm not a brat. Sometimes I'm watching a movie, and you see a character and go, 'I don't like him' - that's me.

I do have feelings.

I don't get emotional.

I am very sensitive and get emotional.

It's hard to judge how you are feeling physically.

I like to do something that gets a real reaction from people.

The sentiment of fear is nearly allied to that of hatred.

Don’t panic, I thought. But already my breathing was faster, shallower. “You mean you can feel happy or sad or—” “Desire.” A barely-there smile.

Literary criticism has about it neither rigour nor proof. Where it is honest, it is passionate, private experience seeking to persuade.

The pleasure of criticizing takes away from us the pleasure of being moved by some very fine things.

Pleasure and pain spring not so much from the nature of things, as from our manner of considering them. Pleasure, especially, is never an invariable effect of particular circumstances.

What matters is how I feel about it, cause if I feel good or bad about it, then the audience will feel good or bad about it and that's just sorta the job.

Pain narrows consciousness; pleasure blurs it.

Pain and pleasure occur in consciousness and exist only there