Rainer Werner Fassbinder Quotes

I think probably I've been influenced by Chekhov and Walt Disney, if you see what I mean.

It's a big criticism of Greenaway films that they are far too interested in formalism and not enough interested in notions of emotional content. It's a criticism I can fully understand from a public that has been brought up by Hollywood movies that demand intense emotional rapport.

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

People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.

If I've seen the movie, it means it's an influence on my own filmmaking. Every movie has a reflection in 'Night Watch.'

In film, you can't go into analytical explorations because the audience will reject that.

I'm not a purist - I like films that are narrated and films that aren't, films that are beautiful and films that are clumsy but heartfelt. Mostly, I just like a good story and good characters.

'Up the Junction' really made me understand the power of cinema to create a vivid sense of a community. When I went on to make 'Bhaji on the Beach,' it was this sense I tried to recreate.

So I used formal techniques to make the film more perceptive emotionally.

Dramas need to have a certain aesthetic that comedy just doesn't really seem to need to have.

My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.

Sirkian films really aren't - at least the way I see them, they're not about identification. They don't have voiceover. A lot of the love stories that are rooted, classic love stories rooted in point of view, use voiceover as a mechanism for locating you there.

Films like 'Velvet Goldmine' are an accumulation of research and references. I create an almost random resource of connections and am constantly distilling that into narrative specifics.

'Piku' was driven by subtleties. Most films come with the padding of the sound, the visual, the drama.

I gravitate much more toward realism, realism in the work that I do, but magical realism got me hooked on film. I think it was my first time realizing that there was something besides popcorn movies.

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

Raman Raghav' was shot on location, but there are many stylistic things in it. I like this mixture of documentary and extreme stylization.

When I make a film, the yardstick is my mind. If I laugh at the jokes and feel sad at the serious undersides, then the subject works.

Parajanov's love for the folk culture is quite infectious. The way that he loves everything on screen, I relate.

I've followed Mysskin sir's work, and I really like his style of filmmaking.

I mean, we should only be talking about the merits of film ["Moonlight"] because one of the great things about the visual language is that it is the great equalizer.

'Infernal Affairs' uses a vibrating terseness usually found in the writer and director Michael Mann's work. Thematically, this film deploys the techniques Mr. Mann brought to bear on 'Heat,' right down to using a similar cold-blooded electronic score.

I'm not very particular about the commercial angle in my films, but entertainment is very important.

Well, I'm really interested in the idea of making genre films, but movies have a much more personal undercurrent to them and that look beautiful, and that's sort of the films I'm kind of interested in making.

When we were cutting 'Raging Bull,' Martin Scorsese was watching 'The Films of Hoffmann' on a 16-mm print over and over and over again.