Masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice.
Why are we here? I think many people assume, wrongly, that a company exists solely to make money. Money is an important part of a company's existence, if the company is any good. But a result is not a cause. We have to go deeper and find the real reason for our being.
Feelings do not grow old along with the body. Feelings form part of a world I don't know, but it's a world where there's no time, so space, no frontiers.
From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh.
No architect troubled to design houses that suited people who were to live in them, because that would have meant building a whole range of different houses. It was far cheaper and, above all, timesaving to make them identical.
And we're seeing a higher level of consciousness and many more opportunities for people to challenge their present ways of thinking and move into a grander and larger experience of who they really are.
I design for real people. I think of our customers all the time. There is no virtue whatsoever in creating clothing or accessories that are not practical.
Ultimately, you have to not worry about people thinking you should have played him differently. You're the one playing the part so it has to be yours.
I don't have a problem with my body. I'm not just going to strip off all my clothing, but if the part calls for it and I don't think there's any way round, I'm absolutely fine.
When you step back and watch people, you realize that we use every single body part. Movement, dance - I find it genius because it's ultimate expression, really.
If you look at the buildings, you'll find that one part looks as if it was designed by one man, and you go around and look at another facade and it looks as if it was designed by another man, you see.
I think there is a new awareness in this 21st century that design is as important to where and how we live as it is for museums, concert halls and civic buildings.
You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.
The Communist Party said that I must finish my studies because after the revolution in Germany people would be required with technical knowledge to take part in the building of the Communist Germany.
I designed the small storage ring used and participated at all stages of the experiment proper, including part of the data treatment.
No. I mean those people really did something for designers I don't think department stores can, could or should do still today. Today the world is different so you have to make it differently. There's TV. There's a lot of things.
For profane experience, space is homogenous and neutral; no break qualitatively differentiates the various parts of its mass.
But what does interest me is the notion that if you do a lot of work it means there's a potential for other people to understand that a lot of things are possible with a sustained effort and that the broadening of experiences is possible and I think that's all art can be.
For religious man, space is not homogenous; he experience interruptions, breaks in it; some parts of the space are qualitatively different from others.
Yes, he wanted me to do Funny Games before, which I didn't want to do because the film was very theoretical - the way people experience violence on screen. There was very little space for fiction, it was more like a sacrifice for the actors than anything else.
I know one day I'll be considered too old. I think 40-year-old women actually look more healthy and fit than some girls in their 20s. I've met women who have way better bodies in their 40s because they've been working on them for all these years.
When you see a fish you don't think of its scales, do you? You think of its speed, its floating, flashing body seen through the water... If I made fins and eyes and scales, I would arrest its movement, give a pattern or shape of reality. I want just the flash of its spirit.
I think these movies are as much for people of that time as for people who weren't born. For people who weren't born, they see how leaders must act under a crisis situation, not trying to be re-elected or not trying to check polls, that they go from their gut check.
Well, I think I've made 44 films and only like four times I've played real characters I'm just drawn to people who have a pioneer spirit, this extraordinary energy and commitment to their cause.
I don't think I'll ever be a producer who's into taking the meetings and fighting the big fights with studios. I really don't like that part. I'm much more interested in the material.