Baltasar Kormakur Quotes

Artwork is not like a commercial business; there is no such thing as a schedule for art. You can't hurry art.

You don't make a movie, the movie makes you.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student.

It's not that there aren't people who care creatively in the world of television, but there's always a bit more time in making a movie. I always feel films are more of a creative journey.

In any great art, you create a world, and you invite people into that world, and hopefully, it's fleshed out enough and you've explained it well enough.

I think that there's no doubt that to work in film is a bit more of a creative journey. It's not that I don't put the same time or heart into something that's on television.

Making a film is a beautiful mystery. You go deep into the wood, and you don't want to come out of that wood.

You definitely want to do the little films. They're always going to be harder, but you don't do them to make money. You do them so you can see what you can make with the research that you have.

Art is not a thing; it is a way.

You become the movie you are making.

I'm very interested to see how this new painting will go - I know I want it big and stark, and as I said, I follow the muse, and that's when it always works perfectly for me.

I have 30 years of experience working with Leos Carax, so all the films of Leos Carax are unusual or unique. I look at them as a journey: a journey which is very personal to Leos.

When I'm writing a new play, there's a period where I know I shouldn't be out in public much. I imagine most people who create go through something like this. You willfully loosen some of the inner straps that hold your core together.

Every movie has its uniqueness. You just do your best and go with it.

When I go into the studio, I completely detach. I let my emotions come out.

Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.

I think when I'm drawing, I'm seeing what's happening on the page almost as if it were unfolding like a movie in my head.

In any art, you don't know in advance what you want to say - it's revealed to you as you say it. That's the difference between art and illustration.

When you make a movie, you can only make the movie that you would want to see.

'Rocket Science' is really where I fell in love with filmmaking, I think 'Camp' was incredible, but it was so bizarre, and I was trying to find my footing in this world where you don't have an audience for immediate validation.

Regardless of the medium, be it television or feature or documentary, I'm not gonna distinguish and worry about my particular canon, whatever that means.

When you're actually making the film, you're constantly battling to maintain its integrity.

The 'Station to Station' film has been fascinating to create. It feels as though it made itself in a way, and after awhile, the film told us what it needed and began to sculpt itself.

I'm not so presumptuous to feel that they're gonna get it right away, get exactly what I have in mind. I hope that they'll enjoy looking at it at any rate, whatever it is. And that's why I started writing stories on my work.