The whole premise of the film
["The Look of Silence" ]
is that, through my closeness to him, viewers are forced to become intimate with him also and most viewers, I think, will feel some empathy with him, though not sympathy, which is a very different thing. And, of course, some viewers will resist that, kicking and screaming, and say, ‘These men are monsters! I shouldn't be feeling this way.'
The relationship between memory and imagination is very mysterious. If you tell me a story about something that happened on the way here from the airport, you are already applying imagination to memory. And it's the same thing with the film. The one thing I always regretted about Hope and Glory is that it was based on my childhood memories, and now I have lost all those memories and can only remember the film. And now this has come along and usurped my memories as well. That scene with my first cigarette, for example, it was such a vivid memory. It does not feel so vivid any more.
And what happened immediately [after coming out], according to friends, is I became not just a happier person, but a better actor. I think up to that point, I had been using acting as a disguise -- somewhere where I could express my emotions, and draw attention to myself in a way that I didn't particularly want to do in real life. Acting became not about disguise, but about telling the truth. And my emotions became much freer. I was able to act better as I think you are able to do any job. Everyone's better if they're being honest.
People in the west always like the idea that someone else is racist. It's true that it's easier in Russia to run into someone who calls an African a monkey. But in London, you can easily get into a lift with a racist. You just wouldn't know it, because they'll smile at you.
To portray a jihadist as simply a bad guy, who does not in any way resemble me, who's completely different, that's not completely true. [The jihadist is] a fragile being. And fragility is an element that can make anybody tip over into horror.
Religions are the first examples of cinema and gods are the first film stars; they are presented as colourful pictures, are unreachable and remain the last hope. So why be surprised when film stars become godlike figures?
Two loves I have, of comfort and despair,
What do you think is the cosmological effect of Zayn leaving One Direction and consequently breaking the hearts of millions of teenage girls across the world?
We live in the most conservative nuclear family time ever. For me, the film [ "Force Majeure" ] is such an obvious attack on this lifestyle. [ The film had three ambitions: ] To reduce alpine tourism, increase divorce rates, and make the most spectacular avalanche scene in history.
One of the most painful things that can happen to a human being is to lose their identity. For men, losing our identity is very connected with being a coward. That's what annoys me when women think Tomas [ in "Force Majeure" ] is an arsehole. Because they're as much victims of gender expectation as anyone else. In our society there's a slight feeling of shame about being a man. Trying to deal with [our] basic behaviour and put it into culture today.
Underneath the superficial variation, horror shows a remarkably stable structure over time. Horror is designed to freak out its audience, and because of our biological construction, there's only a limited number of ways of effectively freaking out people. That's why even an apparently super-modern film like "Unfriended" has to resort to a thousand-year-old horror monster – the malevolent, dangerous ghost – to freak out its audience.
Where does your anxiety come from?
We tried to force the character into a labyrinth where there's no way out. So we wanted it to feel like there was no sense of geographical orientation. At the same moment that he loses focus on where he is — he loses his horse, his rifle, and he's lost in this strange land he can't understand — he starts to lose his mind because he's shocked by the realization that his daughter is gone. We tried to sync the natural images with the idea of the main character losing focus. At the end, in the cave, I don't know if the old woman he sees is his imagination, if she's the girl or whatever. There are a lot of questions about who is who and I have no answers for them. But I think they work in the film. I cannot explain why, but it makes a strange sort of sense. It's the way I feel when you go to a museum and you see a painting. Maybe you think, "What the fuck is that?" But you keep looking at it, because there's something in it that you feel a connection to.
Well, I like to think that I'm gay in my art and straight in my life. Although, I'm also gay in my life up to the point of intercourse, and then you could say I'm straight. So I guess it depends on how you define gay . If it means whom you have sex with, I guess I'm straight. In the twenties and thirties, they used to define homosexuality by how you acted and not by whom you slept with. Sailors would fuck guys all the time, but as long as they behaved in masculine ways, they weren't considered gay.
If you and I knew that we had to make lunch for five people, we could have a lot of fun with that. We could serve something pretty interesting, we could shop and it's pretty manageable. If we decide to serve 5,000 people, we're gonna quickly decide to serve hotdogs and hamburgers. And that's what happens inside most mainstream movies. So you start just homogenizing everything, one of the reasons I love the genre movies I've done --
It's a mystery to me. I was in my prime. When the 1960s ended, I just ended with it. I remember my agent telling me: ‘They are all looking for a young Terence Stamp.' And I thought: ‘I am young.' I was 31, 32. I couldn't believe it. It was tough to wake up in the morning, and the phone not ringing. I thought: this can't be happening now, it's only just started. The day-to-day thing was awful, and I couldn't live with it. So I bought a round-the-world ticket and left.
If you're struggling with a disease like this [ALS], it's important to feel you still matter. And it's ironic that in my deteriorated state I was able to make a film that, creatively, is everything I'd ever wished for.
Of all the labels and tags and epithets people have forced upon me, there's one I don't dislike. I get called the ‘enfant terrible'. In every article, it's always there. So I have to give that a meaning.
I am 120,000 [British] pounds in personal debt. I took money out of my child's school account to fund this movie
[“India's Daughter” ] . Documentaries don't make money. You do them because you have something passionate to say.
"Stop stealing all the white people's superheroes. Make up your own"...
The turning point was very difficult. It was the highest award I got when I was young, which was the Golden Palme, and that made me realize how much expectations it creates. After that it was like, "OK, this kid from Germany got the Golden Palme and his film is very successful, now please continue doing stuff like that." It really brought me to a grinding halt creatively. For the next movie I made, only three years later, by choice I made it the most opposite film I could imagine, and that was "Wings of Desire." I thought they would tear me to pieces for it because there was nothing like it, but at least I knew I didn't owe it to anyone's expectations. Awards have that danger that they can create expectations, and of course the world is done this way -- anyone who does something successful, be it a musician, painter or writer, immediately everyone wants them to continue doing what they do. But I never wanted to continue doing what I was doing just because I knew how to do it. I think that's an incredible temptation and also a terrible trap.
We got four nominations tonight, and you BAFTA are a democratic gang and your taste is your prerogative.
What is important to me is that you have awarded me this fellowship for which I am truly grateful. 'For me this is a sign of your respect for an offbeat alternative, idiosyncratic personal kind of cinema. Pure independent cinema are the filmmakers of the future.
Fewer, perhaps, are aware that he was born Maurice Henri Joseph Scherer in Tulle in March 1920, and that Eric Rohmer was a pseudonym he first used in the 1950s. At the first four interviews I had with him over the years, I asked why he'd adopted this name. Because,he explained, he'd had to conceal the fact that he worked in film from his mother, a bourgeoise who would've been deeply disappointed, even shocked, by his involvement in cinema. Indeed, he'd let her believe he was a teacher of classics until her death in 1970, by which time he was one of France's most succesful directors.
Inevitably, there's only one rule in this kind of movie: when you stop shooting, that's when the best thing is going to happen. Sometimes you'll be shooting something very boring, but you have to continue and persevere, because it's completely unpredictable the way things are going to go. It's happened to me before and I've learned from experience.
It doesn't take you long to realize that other people forget your successes [laughs]. You read a review for somebody playing a part that you played and they get exactly the same review that you got – and you realize it's not the actor at all, it's the fabulous role we were both playing. So I don't hold on to past successes. And when I see myself in things that were highly praised at the time I think, I could have done better than that. So you have to live in the present.
[ "Boyhood" ]'s theme is pertinent. While girls do their homework, conform and succeed, boys are increasingly mired in moody recalcitrance. Stepdads and teachers urge discipline on Boyhood's unruly hero. He gamely resists. Nonetheless, he ends up scoring a hot chick and looking set on the path towards an enviable career.
'Hurt Locker' made $17million because it was a little ambiguous and thoughtful... [American Sniper] is just "American hero! He's a psychopath patriot, and we love him."
I started my career, thankfully maybe, with a first feature that I'm really proud of, that got some really dismissive reviews at the time. I realized I had to have a really thick skin if I wanted to pursue this. You can't be vulnerable. It's just the nature of it.
Well, Aydin [ in "Winter Sleep" ] is a very typical modern turkish intellectual, and there's big gap between him and the poor people in the village. But this kind of gap between the educated well-off and the poor exists in most countries; it's not just Turkey. Then there's the fact that he's apparently not religious but writes about religious matters. In Turkey, if you're Muslim, you're not really free to write about religion - partly, perhaps, to show that they're not afraid to do so. Aydin is perhaps fairly typical in that he wants to be seen as a bit of a hero because he writes about religion, but at the same time there's a part of him that's quite cautious or timid. He wants to fight the fear he feels, but it still shows.
Andrey Zvyagintsev's intriguing title [ "Leviathan" ], we are told, is both a reference to the sea- monster evoked by God in his final speech to Job, and to Hobbes's defence of the social contract, written during the English Civil War: "that great Leviathan called a common-wealth or state".
I was very fond of Derek Jarman and he made some very nice films. But "Caravaggio" is profoundly boring - nothing happens. Everyone in it was busy being gorgeous. There's no character or anything.
My life and work are in Iran. My cultural relation to everything, from doors and walls to problems and miseries, comes from Iran - from the language. This is not the language of, 'Hello, I need this and that,' it is something more profound, with which one thinks. These thoughts become your country. My country is my language. When I'm outside Iran, I'm comfortable and unhappy. When I'm inside, I'm uncomfortable but happy.