Rinko Kikuchi Quotes

I think that films or indeed any art work should be made in a way that they are infinitely viewable; so that you could go back to it time and time again, not necessarily immediately but over a space of time, and see new things in it, or new ways of looking at it.

Filmmaking, like any other art, is a very profound means of human communication; beyond the professional pleasure of succeeding or the pain of failing, you do want your film to be seen, to communicate itself to other people.

I had a philosophy, which may have been proven right, that directing isn't as hard as everyone says it is.

I just see myself as a guy who's trying to make a film or, make art.

A script like 'Nightcrawler' gives me an opportunity to truly realize a vision that's mine, which is exciting.

I tend not to be so attracted to films that force me into an intellectual place over an emotional one.

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.

When you're lucky enough to have a good film made of your novel - and 'Never Let Me Go' is, believe me, a heartbreakingly good film indeed - you get wonderfully talented individuals each focusing on their special area.

There's no point in making films unless you intend to show us something special, otherwise just go out and watch a play.

Every time you start a project, you're hopeful that the critics receive it warmly.

For a long time, I was brilliantly achieving drawings that were inert, suffocating and dark. If ever you need illustrations that are inert, suffocating and dark, I know how to do them.

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.

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.

Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.

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

I don't want to do a history lesson. I don't think cinema should be about that. Cinema should be about emotions.

Works of art are like a Trojan horse. Under the surface is always some artist's deeply held philosophy on their view of the world. But on the other hand, you do not want to make it feel like medicine. You do not want to make it feel like an afternoon TV special where you're trying to hammer a message into someone's head.

My personal fave is 'The Japanese Wife', because I think I achieved a lot of what I wanted to do. I wanted that Japanese minimalism in the film, which I managed to get somewhat.

At one point of time, I would like to shoulder a film on myself.

The whole purpose of filmmaking is to entertain the viewers and when it happens, it gives you a high.

Feature filmmaking is a very powerful medium. It has a hold on me now.

I'll be honest: 'Badlands' changed my life: it really did rewire my brain as to how film can operate.

Every director has his own syntax, his own grammar, his own words.

I just try to direct in a way that interests me. And, hopefully, other people will find it compelling.

I don't think it's right to define films as commercial or art house. What's important is that a film evokes a certain emotion when it's being watched.