Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.
I learned a lot last year about the current difficulties in independent film making. Money is promised one minute and gone the next. I was bitterly disappointed about Scheherazade. It was one of the best scripts I have ever read.
Independent films in this country are in the same position. Miramax and Fine Line are not independent - they're with Disney! Come on. Or they're with Warner Brothers. They're all with somebody.
Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.
If you're totally illiterate and living on one dollar a day, the benefits of globalization never come to you.
Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.
I signal with an independent label, Continuum. After that I put out a totally independent record, sold fourteen thousand of them from my basement, bought a house, started raising my kid, made a decent living.
In this age of consumerism film criticism all over the world - in America first but also in Europe - has become something that caters for the movie industry instead of being a counterbalance.
They're not put on earth to be martyrs; they have to want to come out. It depends on your culture, where you work, where you live. Each person's circumstances are unique.
I love things that age well - things that don't date, that stand the test of time and that become living examples of the absolute best.
When it comes to controlling human beings, there is no better instrument than lies. Because you see, humans live by beliefs. And beliefs can be manipulated. The power to manipulate beliefs is the only thing that counts.
What if a demon were to creep after you one night, in your loneliest loneness, and say, "This life which you live must be lived by youonce again and innumerable times more; and every pain and joy and thought and sigh must come again to you, all in the same sequence. The eternal hourglass will again and again be turned-and you with it, dust of the dust!" Would you throw yourself down and gnash your teethand curse that demon? Or would you answer, "Never have I heard anything more divine?"
When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.
Whoever, fleeing marriage and the sorrows that women cause, does not wish to wed comes to a deadly old age.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
It's very hard to find critics or a magazine today that will publish material that is genuinely independent and written without any concern about being cut off some distributor's list or not be invited or flown into screenings.
Moreover, no one is judged from the natural man, thus not so long as he lives in the natural world, for man is then in a natural body; but everyone is judged in the spiritual man, and therefore when he comes into the spiritual world, for man is then in a spiritual body.
Film music should have the same relationship to the film drama that somebody's piano playing in my living room has on the book I am reading.
Here comes 40. I'm feeling my age and I've ordered the Ferrari. I'm going to get the whole mid-life crisis package.
One might have thought that the most significant change in the film industry that would come about with a transition from the communist economy to capitalism would fundamentally concern the sources of funding.
The most fleeting and most subtle shades of sentiment belong to Rubens; in this respect he is a treasure for novelist and psychologist; he took note of the passing refinements of moral expression as well as of the soft volume of sanguine flesh; no one has gone beyond him in knowledge of the living organism and of the animal man.
It's pretty clear to me that working as a director for hire agrees with me. I like it. The films that have come out of that, I personally like better than the ones that didn't.
The golden moments in the stream of life rush past us, and we see nothing but sand; the angels come to visit us, and we only know them when they are gone.
We live in an age when it is cheaper to buy the rights to movies than to make them.
There is an ecstasy that marks the summit of life, and beyond which life cannot rise. And such is the paradox of living, this ecstasy comes when one is most alive, and it comes as a complete forgetfulness that one is alive.