Shane Carruth Quotes

I really liked the Jean-Luc Godard movie, 'Film Socialisme.'

I loved 'Goodbye to Language.'

Ulrik Ottinger was the most real and experimental of all the German New Wave directors. She was probably the most out-there, too. She's a fascinating artist in that world.

'Pulp Fiction' blew my mind; beforehand, I'd watch films and there was a beginning, middle and an end, and that's it. There is in that film, too, but it's out of sequence.

I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.

When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?

Movies tend to be dislocated and non-linear in their process.

In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'

I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

I can't summarize my favorite movie, Jacques Tati's 'Play Time.' You just have to see it.

'Apocalypse Now' does not alienate us or deconstruct itself. In fact, it welcomes us in.

I admire David Lynch so much, and I think he made some bad decisions with Lost Highway.

There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this there's certainly a kind of avant-garde, abstract, existential element to it.

The movies I respond to are by guys like the Coen brothers and Edgar Wright, where it's hard to fit them into any one box.

Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.

When you look at a film like 'The Ides of March' or 'Good Night, and Good Luck' even, those are really contained pictures.

I thought 'Eternal Sunshine of the Spotless Mind' was so interesting the way it was made and the texture of it.

A lot of Luis Bunuel's later, European films are all great.

I don't think 'Road' is an experimental film.

'Pi' was one of my favorite films growing up because I thought it employed paranoia and voice-over, and also because it used this unreliable narrator in a very fascinating way.

Lynne Ramsay's 'Ratcatcher' blew me away when it came out. When I started making short films, I would watch that film over and over again, marvelling at how that story visually unfolded.

I want to do experimental films.

Locke' is a different way of making a film as well as being a different sort of film.

I don't think 'Lootera' is slow paced; it's finely paced for its setting and story.

I watched a lot of avant-garde films, like Maya Deren's work, and I love film's technical ability to do things that are impossible in real life. It's related to the way collage allows you to manipulate reality and the hierarchies that are inherent in our awful but amazing world.