Michel Hazanavicius Quotes

What I want to give in the theatre is beauty, that's what I want to give.

There is something that might be called cinematic beauty. It can only be expressed in a film, and it must be present for that film to be a moving work. When it is very well expressed, one experiences a particularly deep emotion while watching that film. I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

I want to make a movie that can grab people by the heartstrings.

The people only understand what they can feel; the only orators that can affect them are those who move them.

I like to feel that all my best photographs had strong personal visions and that a photograph that doesn't have a personal vision or doesn't communicate emotion fails.

Action alone doesn't work in Germany - you need an emotional element to the story.

I'm the type of artist who touches people, that's the type of artist that I am.

Many of my cartoons are not a belly laugh. I go for nostalgia, the lump in the throat, the tear in the eye, the tug in the heart.

I consider those actors who amaze me are somehow less attractive to me than those actors who move me.

It is rare that you read scripts that genuinely move you and make you feel that, regardless of the commercial possibilities, you have to make the film.

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

Sometimes a movie knows you're watching it. It knows how to hold and keep you, how, when it's over, to make you want it all over again.

There's a classic element that all good Disney movies have. It really comes down to the storytelling, I think. It manages to push all of these buttons inside of us; there's a sentimentality.

Whatever makes an impression on the heart seems lovely in the eye.

When I saw 'Talk to Her' for the first time, I was crying out loud because I couldn't imagine that I was doing that film.

For me, art has to have two things to really blow me away: a strong concept and drama.

It's kind of the filmmaker's job to use visual, cinematic language in a way possible to tell a story that reaches and touches as many people as possible.

I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.

When you tell a story that you know is having an effect on the audience, that, for me, is the transforming thing.

Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'

I want to do stories that really move me, that have an audience, and at the end of the day, I want people to feel something when they walk out of the cinema.

I want to create films that will speak to different parts of our hearts and brains, stories told from a different angle.

It is so beautiful that when you watch the film, the marriage between the visuals, the music and the storytelling is seamless.

Love stories should be relatable.

We have a double agenda of trying to deliver something exciting that people will talk about and will brighten their day and will amaze people and make us proud to have created an object of beauty. And on the other hand being true to the story.