If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.
I love science fiction but I don't like fantastic [cinema]. For example, if you have a magical ring and you can explode the world with it. What are we talking about? You know, it's not interesting. I don't like Lord of the Rings. Even Star Wars, for me, I don't understand this kind of story. But Alien, because the rules of the game are very precise, it could happen. I love science fiction. I have an idea about robots in the future.
I write scripts by myself. It's not for everybody. It's someone's personal work. I need to be in love with the subject.
It's always more interesting and more difficult to make something positive than negative. To be negative is very easy.
I believe in imagination. I was a worker when I was 17. Between 17 and 21, I was a worker in the telephone company and imagination saved my life.
I think we're entering a new period of filmmaking that's analogous to switching from black-and-white to color, or from silent to sound. The medium is completely flexible, and it's not bound by anything. If you imagine something, you can do it.
In the States, I learned to fight for every idea. Sometimes, a director has to be a tyrant to keep the quality.
In France, I am so free. I have more freedom than most American directors could dare to even imagine.
When critics love your film, you love critics. When they hate your film, you hate critics. It's the same everywhere, but maybe especially in France, where we have pretty good critics, except for three or four newspapers that are really dogmatic.
In France, it's very suspect when you have a success.
I hate to lose time on the set. On the set, you have to go at a good pace, because the clock is your master. For that reason, I have to know exactly what I'm trying to get beforehand.
I'm very slow, and I do everything myself. I remember I spent three days to change the size of something I had sketched because I felt it was too small.
When you speak about generosity, about something good we have inside ourselves, you're speaking to the majority.
In general, I have some precise ideas about everything, because the film is completed in my head before we ever start shooting. With casting, I am always present, even for the smallest character.
If you make the right choice in casting, your work is nearly done already. You don't have to spend a lot of time directing the actors, because they're so well suited to the parts.
When I was a kid, I used to escape from my family with my imagination, and I kept this spirit into my adult life. This doesn't always happen. All children have imagination, but for some it doesn't carry over.
All day my mind drifts off into fantasies and little stupid jokes.
It's always been pretty easy for me to exercise my imagination. The other part of the brain, the one that does mathematics, is a nightmare for me. It doesn't work at all.
I would be wary about working in the States because freedom is an important thing. I have made seven films and even on Alien Resurrection I had the freedom. I had to fight and struggle a bit but in the end I won out.
This is one of the things I don't like so much about French cinema - we have tendency to concentrate on actors and dialogue and we don't care so much about the visual aspect. I love when you use all the elements at your disposal.
I like the cinema of people like Terry Gilliam and Tim Burton. I am not keen on trying to reproduce reality - for that you should do documentaries.
I think of a film as being like a toy train.
I thought all I had to do was to buy a camera and become a film director. So when I left school I worked at a telephone company, which gave me the money to buy the basic equipment including the camera, the projector and the screen.
I've never made any concessions, so I am 100% responsible for my films. This makes me feel very proud.
In Hollywood everything is formatted, everything is compulsory, so therefore we have to follow the law of benefits and profit and money, let us say the law of Hollywood.
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