236 quotes found
"Art attracts us only by what it reveals of our most secret self."
"The truth is that there is no terror untempered by some great moral idea."
"Beauty is composed of an eternal, invariable element whose quantity is extremely difficult to determine, and a relative element which might be, either by turns or all at once, period, fashion, moral, passion."
"Fifty years after the October Revolution, the American industry rules cinema the world over. There is nothing much to add to this statement of fact. Except that on our own modest level we too should provoke two or three Vietnams in the bosom of the vast Hollywood-Cinecittá-Mosfilm-Pinewood-etc. empire, and, both economically and aesthetically, struggling on two fronts as it were, create cinemas which are national, free, brotherly, comradely and bonded in friendship."
"All you need for a movie is a gun and a girl."
"To me style is just the outside of content, and content the inside of style, like the outside and the inside of the human body—both go together, they can’t be separated."
"The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t."
"Photography is truth. The cinema is truth twenty-four times per second."
"I would never see a good movie for the first time on television."
"[I think] the movie is not a thing which is taken by the camera; the movie is the reality of the movie moving from reality to the camera."
"In films, we are trained by the American way of moviemaking to think we must understand and 'get' everything right away. But this is not possible. When you eat a potato, you don't understand each atom of the potato!"
"To be only spectacular should be 5 or 10 percent of cinema."
"American pictures usually have no subject, only a story. A pretty woman is not a subject. Julia Roberts doing this and that is not a subject."
"Movies in Hollywood now, for the past 20 or 30 years, are made mainly by lawyers or agents."
"Film begins with D. W. Griffith and ends with Abbas Kiarostami."
"She left me because of my many faults; I left her because I couldn’t talk movies with her."
"Zelensky's intervention at the Cannes festival goes without saying if you look at it from the angle of what is called "staging": a bad actor, a professional comedian, under the eye of other professionals in their own professions. I believe I must have said something along these lines a long time ago. It therefore took the staging of yet another world war and the threat of another catastrophe for us to know that Cannes is a propaganda tool like any other. They propagate Western aesthetics whilst thinking it is not a big deal, but it is just that. The truth of the images is only advancing slowly. Now imagine that the war itself is this aesthetic deployed during a world festival, whose stakeholders are the states in conflict, or rather “interests”, broadcasting representations of which we are all spectators for… you, like me. We often say “conflict of interest”, which is a tautology. There is no conflict, big or small, unless there is interest. Brutus, Nero, Biden, or Putin, Constantinople, Iraq or Ukraine, not much has changed, apart from the mass murder."
"A story should have a beginning, a middle and an end … but not necessarily in that order."
"In this profession, I always admire people who are going on, who have a sort of idea and, however crazy it is, are putting it through; they are putting people and things together, and they make something. I always admire this. But I can't see his pictures. I sit for perhaps twenty-five or thirty or fifty minutes and then I have to leave, because his pictures make me so nervous. I have the feeling the whole time that he wants to tell me things, but I don't understand what it is, and sometimes I have the feeling that he's bluffing, double-crossing me."
"I've never gotten anything out of his movies. They have felt constructed, faux intellectual and completely dead. Cinematographically uninteresting and infinitely boring. Godard is a fucking bore. He's made his films for the critics. One of the movies, Masculin, féminin, was shot here in Sweden. It was mindnumbingly boring."
"As soon as we were happy, he tried to get at us by another means, another path. He provoked a new ordeal. One could have thought that it bored him, happiness."
"Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung-fu film."
"Honest women are inconsolable for the mistakes they haven't made."
"You can pretend to be serious but you can't pretend to be witty."
"The little I know, I owe to my ignorance."
"When a man marries his mistress, he creates a job vacancy."
"When a man steals your wife there is no better revenge than to let him keep her."
"When a war is won, it's the losers, not the winners, who are liberated."
"Disease-carrying thoughts swarm and multiply in the dark and twisted labyrinths of our minds, and all that is needed is a mob and a good political slogan for the epidemic to be spread once again, with a burst of automatic weapons or a mushroom cloud."
"I sat day after day in my little room, waiting for inspiration to visit me, trying to invent a pseudonym that would express, in a combination of noble and striking sounds, our dream of artistic achievement, a pen name grand enough to compensate for my own feeling of insecurity and helplessness at the idea of everything my mother expected from me."
"A writer’s subconscious is one of the filthiest places there are: as a matter of fact, you can find the whole world there."
"There is more to Jewish history than Auschwitz."
"Gari in Russian means "burn!"… I want to test myself, a trial by fire, so that my I is burned off."
"During the war he was an airman and slaughtered civilians from on high."
"The gossip that came back to me from fashionable dinners where people pitied poor Romain Gary, who must be a little sad, a little jealous of the meteoric rise in the literary firmament of his cousin Emile Ajar… I’ve had a lot of fun. Good-bye, and thank you."
"Humour is an affirmation of dignity, a declaration of man's superiority to all that befalls him."
"The bombs I dropped on Germany between 1940 and 1944 maybe killed a Rilke or a Goethe or a Hölderin in his cradle. And yes, of course, if it had to be done over, I would do it again. Hitler had condemned us to kill. Not even the most just causes are ever innocent."
"Gary’s life was shaped by war, revolution, emigration, anti-Semitism, defeat, and murderous low-altitude bombing runs. But he never wallowed in victimhood – quite the contrary. He wrote scathing satires of the victim syndrome, and never claimed that his changes of country and language were anything but opportunities to be someone else. He didn’t need to know whether he was Russian, or Jewish, or Polish, or Catholic, or French. In a questionnaire on ethnic identity he would have answered: all of the above. Gary is a good model for our own century of transnational lives."
"In 1966, Gary and Seberg visited the memorial of the Warsaw ghetto, in the city where he’d lived as a child for several years before moving to France. This confrontation with the trauma of history — a horror he narrowly avoided — was overwhelming. Gary hallucinated the arm of a hidden Jew emerging from a sewer grill shaking its fist, and fainted from the shock. When he came to, some combination of survivor’s guilt and righteous anger was conceived, taking shape in The Dance of Genghis Cohn (1967) — a breathtakingly original, hilarious, and complex exploration of Gary as a man, an author, and a Jew. Genghis (né Moishe) Cohn, a comedian from Berlin imprisoned in Auschwitz, exposes his bare bottom to Schatz, the SS officer who kills him, and instructs him to “Kush mire in toques.” (Opines Cohn’s ghost: “There have undoubtedly been more worthy and noble last words in history than ‘Kiss my ass,’ but I have never made any claim to greatness and, besides, I’m quite pleased with my effort…”)."
"Too famous for his work to be judged without bias, Gary felt he needed to break free from categorization. So, in 1973, at age 59 — the same age his mother was when she died — Gary invented Émile Ajar. He was by then twice divorced, retired from the diplomatic corps, and had published 22 books, including the Goncourt-winning The Roots of Heaven (1956), about illegal elephant poaching in Africa. It was time for a new adventure, as he explains in The Life and Death of Émile Ajar: “I was tired of being nothing but myself…there was the nostalgia for one’s youth, for one’s debut, for one’s renewal…. I was profoundly affected by the oldest protean temptation of man: that of multiplicity.” … events turned downright farcical. The Life Before Us was awarded the 1975 Prix Goncourt, the rules of which stipulate that it may be awarded to an author just once in his lifetime, and Gary had already received it for The Roots of Heaven. He instructed Ajar’s lawyer to turn down the honor on her client’s behalf, but the prize administrators would hear nothing of it. “The Goncourt Prize cannot be accepted or refused any more than life and death. Mr. Ajar remains the laureate.”"
"Beyond Gary’s creative mendacity, one aspect of his life was indubitably genuine. After Germany invaded France, Gary escaped to London, where he became a war hero, serving as a fearless bomber pilot for the Free French Forces. Flying missions even when recuperating from battle wounds, Gary fought a feisty personal, even visceral battle against the Nazis (in one interview, Gary described himself as “testicularly anti-racist”) that was a concrete reality in a life devoted to more amorphous artistry, and his wartime loyalties remained a permanent obsession."
"When it counted, Gary was ultimately accurate, as when he left a suicide note in 1980, explaining that he decided to end his life because he had written all he wished to write and not because his estranged and tormented ex-wife, film star Jean Seberg, had committed suicide a year earlier. Yet such basic home truths in Gary’s life and work can be obscured by his prose style and grandiose, self-mythifying persona. The Dance of Genghis Cohn itself demonstrates Gary’s paradoxical approach of using, as Bellos observes, “vulgarity and coruscating wit to defeat the greatest obscenity of 20th-century history, the slaughter of the Jews by Nazi Germany.” The novel’s protagonist (a blend of Mongol and Jewish, as Gary himself claimed to be), murdered by the Nazis in 1943, becomes a dybbuk in the mind of his executioner. The victim/protagonist forces his murderer to sing songs redolent of Yiddishkeit, like “My Yiddishe Mama.” Such burlesque ironies, painted with broad brushstrokes in a popular novel published one year before the release of Mel Brooks’s film The Producers, demonstrated the comic potential of ridiculing Hitler, but offended some readers in France, notably a critic from the weekly news magazine L’Express, who termed The Dance of Genghis Cohn an “affront to the memory of those who died at Auschwitz.” Forty-five years on, readers and critics are relishing the same pitilessly absurdist authorial voice, describing savage and coarse events of modern history in the savage and coarse terms that so troubled Gary’s readers when his books first appeared decades ago."
"In 1975, Emile Ajar's second novel, La Vie devant soi, was a French literary sensation. The fictionalised memoir of an Arab boy growing up in a Parisian suburb, packed with extraordinary slang, aggressive jokes and almost unbelievable characters, the book was lathered with praise by critics, eventually winning the Goncourt, the French equivalent of the Booker. It went on to become the bestselling French novel of the 20th century. There was only one problem: Ajar was actually Roman Gary, already a bestselling French author (and previous winner of the Goncourt, which is supposed to be awarded to any particular writer only once), who had reinvented himself to outwit the literary establishment and win a new readership."
"By the time Romain Gary shot himself in the head, the French-Russian writer had published over fifty novels under four different names, directed two movies, fought in the air force, and represented France as a consul. His marriages — first to the British writer Lesley Branch, then to the American actress Jean Seberg — had brought him celebrity. He had enmeshed some of France’s literary giants in an elaborate hoax that broke fundamental precepts of the country’s cultural institutions. But Gary always saw his own life as a series of incomplete drafts. Even as he planned his own death, he remained on the path to self-improvement. “To renew myself, to relive, to be someone else, was always the great temptation of my existence,” read the essay he left with his suicide note. It’s perhaps no surprise that biographies of the author often seem overwhelmed by the slippery nature of their subject. “Romain Gary: The Chameleon,” “Romain Gary: The Man who Sold his Shadow.” Gary was one of France’s most successful writers, but he lived the life of a spy."
"From birth, man carries the weight of gravity on his shoulders. He is bolted to earth. But man has only to sink beneath the surface and he is free."
"Buoyed by water, he can fly in any direction — up, down, sideways — by merely flipping his hand. Under water, man becomes an archangel."
"The sea is the universal sewer."
"We must plant the sea and herd its animals … using the sea as farmers instead of hunters. That is what civilization is all about — farming replacing hunting."
"Farming as we do it is hunting, and in the sea we act like barbarians."
"If we go on the way we have, the fault is our greed — if we are not willing — we will disappear from the face of the globe, to be replaced by the insect."
"What is a scientist after all? It is a curious man looking through a keyhole, the keyhole of nature, trying to know what’s going on."
"Man, of all the animals, is probably the only one to regard himself as a great delicacy."
"I am not a scientist. I am, rather, an impresario of scientists."
"The glory of nature provides evidence that God exists"
"I said that the oceans were sick but they're not going to die. There is no death possible in the oceans — there will always be life — but they're getting sicker every year."
"In the last few decades, a terribly pernicious rumor has been circulated by the press. It claims, exhibiting a level of stupidity heretofore considered impossible, that a human being could crawl through the arteries of a blue whale. Of course, nothing could be farther from the truth. I do not know why this deleterious rumor has been systematically repeated, but its very existence is an ugly cancer upon the face of science."
"We have to prepare for what life could become in 40 years. We need to outline what is possible and what is impossible with the non-renewable resources of the Earth. What role will technological improvement play? Taking all this into account, what kind of life can we produce in the best way for 10 billion people? That's a problem that needs to be solved."
"Sometimes we are lucky enough to know that our lives have been changed, to discard the old, embrace the new, and turn headlong down an immutable course."
"Sylvia Earle's generation — they were explorers...They’re like, what is even down there? How do we understand this? And then: Oh [bleep], this is in trouble. And they all became conservationists, right? We saw that same professional transformation with Jacques Cousteau."
"Sylvia Earle, though a great scientist, is also the heir to Jacques Cousteau, inducting the landbound among us into the mysteries of the sea, helping us to feel both astonished and at ease."
"Michael, I know she’s a nice girl. She’s too bloody nice. She's supposed to be playing a bitch. Every day I have to make her into a bitch."
"It's weird. I always had the premonition that Sharon belonged to me just for a little while."
"She was the least hypocritical woman you could ever meet: once, when an executive told her that we should ask for single cabins in the transatlantic that brought us to the United States, she simply said, "Why? Everybody knows that we live together.""
"I'm forced to mix with people of this industry and I can swear that is really difficult to meet people with her nature and her spirit. Generally, everybody is opportunistic here. Sharon had grace and charm; she knew how to make anybody's life easier. When somebody was busy, she was there in a discreet manner to serve you a drink or a coffee."
"Without her I feel lost, I can't explain this in words. However there are things that I just can't stand thinking of; the way she and our son died."
"I don't know that you can speak of shock … Nothing is too shocking for me. I don't really know what is shocking. When you tell the story of a man who is beheaded, you have to show how they cut off his head. If you don't, it's like telling a dirty joke and leaving out the punch line."
"I see Macbeth as a young, open-faced warrior, who is gradually sucked into a whirpool of events because of his ambition. When he meets the weird sisters and hears their prophecy, he's like the man who hopes to win a million — a gamble for high stakes."
"It's easy to direct while acting — there’s one less person to argue with."
"If I had killed somebody, it wouldn’t have had so much appeal to the press, you see? But… fucking, you see, and the young girls. Judges want to fuck young girls. Juries want to fuck young girls. Everyone wants to fuck young girls!"
"You have to show violence the way it is. If you don't show it realistically, then that's immoral and harmful. If you don't upset people, then that's obscenity."
"I never made a film which fully satisfied me."
"I want people to go to the movies. I am the man of the spectacle. I'm playing."
"People like Truffaut, Lelouch and Godard are like little kids playing at being revolutionaries. I've passed through this stage. I lived in a country where these things happened seriously."
"In Paris, one is always reminded of being a foreigner. If you park your car wrong, it is not the fact that it's on the sidewalk that matters, but the fact that you speak with an accent."
"I can only say that whatever my life and work have been, I'm not envious of anyone — and this is my biggest satisfaction."
"‘What’s wrong?’ I asked. She said her asthma was playing her up.… She was wheezing quite audibly by now. She picked up my towel and said, ‘I’d better rest awhile; otherwise I might pass out.’"
"We dried ourselves and each other. She said she was feeling better. Then, very gently, I began to kiss and caress her. After this had gone on for some time, I led her over to the couch."
"There was no doubt about Sandra's experience and lack of inhibition. She spread herself and I entered her. She wasn't unresponsive. Yet, when I asked her softly if she was liking it, she resorted to her favorite expression: ‘It’s all right.’"
"If you have a great passion it seems that the logical thing is to see the fruit of it, and the fruit are children."
"Cinema should make you forget you are sitting in a theater."
"My films are the expression of momentary desires. I follow my instincts, but in a disciplined way."
"It's already getting more and more difficult to make an ambitious and original film. There are less and less independent producers or independent companies and an increasing number of corporations who are more interested in balance sheets than in artistic achievement. They want to make a killing each time they produce a film. They're only interested in the lowest common denominator because they're trying to reach the widest audience. And you got some kind of entropy. That's the danger; they look more alike, those films. The style is all melting and it all looks the same. Even young directors — for most of them, their only standard of achievement is how well their films do on the first weekend or whatever. It worries me. But then, from time to time, you have a film like The Usual Suspects or.... I'm trying to think of something American with some kind of originality... Pulp Fiction."
"You know, whenever you do something new and original, people run to see it because it's different. Then, if it happens to be successful, the studios rush to imitate it. It becomes commonplace right away. But it's been like that before, I think. Now, the stakes are so gigantic that they cut each other's throats. So if most of the films are failures, then those that succeed so spectacularly, so commercially, become the norm. It's like a roulette for the studios. The problem with it is that it becomes more and more of a committee. Before, you dealt with the studio. It had one or two persons and now you have masses of executives who have to justify their existence and write so-called "creative notes" and have creative meetings. They obsess about the word creative probably because they aren't."
"Berlin was great. It’s a new generation. If you continue to hate, you are entering into the same philosophy that began the war. You have to look forward at people and new times."
"Whenever I get happy, I always have a terrible feeling."
"33 years ago I pleaded guilty, and I served time at the prison for common law crimes at Chino, not in a VIP prison. That period was to have covered the totality of my sentence. By the time I left prison, the judge had changed his mind and claimed that the time served at Chino did not fulfil the entire sentence, and it is this reversal that justified my leaving the United States."
"On February 26 last, Roger Gunson, the deputy district attorney in charge of the case in 1977, now retired, testified under oath before Judge Mary Lou Villar in the presence of David Walgren, the present deputy district attorney in charge of the case, who was at liberty to contradict and question him, that on September 16, 1977, Judge Rittenband stated to all the parties concerned that my term of imprisonment in Chino constituted the totality of the sentence I would have to serve."
"Gunson added that it was false to claim, as the present district attorney’s office does in their request for my extradition, that the time I spent in Chino was for the purpose of a diagnostic study."
"Oh, the little man wanted me—Roman Polanski. Very dwarfish creature with a high giggle. After a take, he wouldn't say, "Cut." One would just hear a "Tee hee hee." [...] Roman presented everything in [such] a calm, matter-of-fact way that the creeping terror just builds. It's sheer genius on his part. It's a very quiet movie where a door creaking can unnerve one. There's a lot of dark comedy in there, too. he was a very careful director—explained everything, multiple takes, very demanding, very appreciative when one got it right. Loved to talk old movies with me."
"The probation officers quoted a pair of psychiatrists as saying that Mr. Polanski was not “a pedophile” or a “sexual deviate.”"
"I would rather live in a country where children are protected and their predators prosecuted, and even (which in Hollywood is evidently not always the same thing) disapproved of."
"He sees things from every point of view. He's an extraordinarily hard worker. I think he's worked for a long time, in every field. He's talented, passionate and has had an incredibly hard and full life that I'm sure you know about. I can not imagine myself having some of his experiences. You either swim or drown, but some like him go on and make every moment important. I think that's what he does."
"Art need no longer be an account of past sensations. It can become the direct organization of more highly evolved sensations. It is a question of producing ourselves, not things that enslave us."
"We are going through a crucial historical crisis in which each year poses more acutely the global problem of rationally mastering the new productive forces and creating a new civilization. Yet the international working-class movement, on which depends the prerequisite overthrow of the economic infrastructure of exploitation, has registered only a few partial local successes. Capitalism has invented new forms of struggle (state intervention in the economy, expansion of the consumer sector, fascist governments) while camouflaging class oppositions through various reformist tactics and exploiting the degenerations of working-class leaderships. In this way it has succeeded in maintaining the old social relations in the great majority of the highly industrialized countries, thereby depriving a of its indispensable material base. In contrast, the underdeveloped or colonized countries, which over the last decade have engaged in the most direct and massive battles against imperialism, have begun to win some very significant victories. These victories are aggravating the contradictions of the capitalist economy and (particularly in the case of the Chinese revolution) could be a contributing factor toward a renewal of the whole revolutionary movement. Such a renewal cannot limit itself to reforms within the capitalist or countries, but must develop conflicts posing the question of power everywhere."
"The shattering of modern culture is the result, on the plane of ideological struggle, of the chaotic crisis of these antagonisms. The new desires that are taking shape are presented in distorted form: present-day resources could enable them to be fulfilled, but the anachronistic economic structure is incapable of developing these resources to such ends. Ruling-class ideology has meanwhile lost all coherence because of the depreciation of its successive conceptions of the world (a depreciation which leads the ruling class to historical indecision and uncertainty); because of the coexistence of a range of mutually contradictory ideologies (such as Christianity and social-democracy); and because of the mixing into contemporary Western culture of a number of only recently appreciated features of several foreign civilizations. The main goal of ruling-class ideology is therefore to maintain this confusion."
"We must call attention, among the workers parties or the extremist tendencies within those parties, to the need to undertake an effective ideological action in order to combat the emotional influence of . On every occasion, by every hyper-political means, we must publicize desirable alternatives to the spectacle of the capitalist way of life, so as to destroy the bourgeois idea of happiness. At the same time, taking into account the existence, within the various ruling classes, of elements that have always tended (out of boredom and thirst for novelty) toward things that lead to the disappearance of their societies, we should incite the persons who control some of the vast resources that we lack to provide us with the means to carry out our experiments, out of the same motives of potential profit as they do with ."
"In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation."
"The spectacle appears at once as society itself, as a part of society and as a means of unification. As part of society, it is that sector where all attention, all consciousness, converges. Being isolated - and precisely for that reason - this sector is the locus of illusion and false consciousness; the unity is imposes is merely the official language of generalized separation."
"The spectacle is not a collection of images; rather, it is a social relationship between people that is mediated by images."
"The spectacle manifests itself as an enormous positivity, out of reach and beyond dispute. All it says is: "Everything that appears is good; whatever is good will appear." The attitude that is demands in principle is the same passive acceptance that it has already secured by means of its seeming incontrovertibly, and indeed by its monopolization of the realm of appearances."
"Philosophy is at once the power of alienated thought and the thought of alienated power, and as such it has never been able to emancipate itself from theology."
"Tourism, human circulation considered as consumption ... is fundamentally nothing more than the leisure of going to see what has become banal."
"Ideas improve. The meaning of words participates in the improvement. Plagiarism is necessary. Progress implies it. It embraces an author’s phrase, makes use of his expressions, erases a false idea, and replaces it with the right idea."
"Boredom is always counter-revolutionary. Always."
"No longer is science asked to understand the world, or to improve any part of it. It is asked instead to immediately justify everything that happens....spectacular domination has cut down the vast tree of scientific knowledge in order to make itself a truncheon."
"With the destruction of history, contemporary events themselves retreat into a remote and fabulous realm of unverifiable stories, uncheckable statistics, unlikely explanations and untenable reasoning."
"Everyone accepts that there are inevitably little areas of secrecy reserved for specialists; as regards things in general, many believe they are in on the secret."
"What is false creates taste, and reinforces itself by knowingly eliminating any possible reference to the authentic. And what is genuine is reconstructed as quickly as possible, to resemble the false."
"The Mafia is not an outsider in this world; it is perfectly at home. Indeed, in the integrated spectacle it stands as the model of all advanced commercial enterprises."
"It is hardly surprising that children should enthusiastically start their education at an early age with the Absolute Knowledge of computer science; while they are unable to read, for reading demands making judgments at every line.... Conversation is almost dead, and soon so too will be those who knew how to speak."
"The Sage of Toronto ... spent several decades marveling at the numerous freedoms created by a “global village” instantly and effortlessly accessible to all. Villages, unlike towns, have always been ruled by conformism, isolation, petty surveillance, boredom and repetitive malicious gossip about the same families. Which is a precise enough description of the global spectacle’s present vulgarity."
"There is nothing more natural than to consider everything as starting from oneself, chosen as the center of the world; one finds oneself thus capable of condemning the world without even wanting to hear its deceitful chatter."
"Quotations are useful in periods of ignorance or obscurantist beliefs."
"In the zone of perdition where my youth went as if to complete its education, one would have said that the portents of an imminent collapse of the whole edifice of civilization had made an appointment."
"Jorn’s role in the Situationist movement (as in COBRA) was that of a catalyst and team leader. Guy Debord on his own lacked the personal warmth and persuasiveness to draw people of different nationalities and talents into an active working partnership. As a prototype Marxist intellectual Debord needed an ally who could patch up the petty egoisms and squabbles of the members. Their quarrels came into the open the moment Jorn’s leadership was withdrawn in 1961. . . . Finally, 1966-8 saw the vindication of Debord’s policy, sustained against every kind of opposition, of adhering rigidly to the uncompromising pursuit of a singleminded plan. When the time came — in Strasbourg in November 1966 and in Paris in May 1968 — Debord was ready, with his two or three remaining supporters, to take over the revolutionary role for which he had been preparing during the last ten years. Incredible as it may seem, the active ideologists (“enragés” and Situationists) behind the revolutionary events in Strasbourg, Nanterre and Paris, numbered only about ten persons."
"The Impressionists were the first [painters] to reject the absolute value of the subject and to consider its value to be merely relative.. .In Paul Cezanne's letters I notice ideas like these: 'Objects must turn, recede, and live. I wish to make something lasting from impressionism, like the art in the museums'.. ..'For an impressionist, to paint after nature is not to paint the object, but to express sensations'.. ..'After having looked at the old masters, one must take haste to leave them and to verify in one's self the instincts, the sensations that dwell in us.'"
"When one crosses a landscape by automobile or express train, it becomes fragmented; it loses in descriptive value but gains in synthetic value. The view through the door of the railroad car or the automobile windshield, in combination with the speed, has altered the habitual look of things. A modern man registers a hundred times more sensory impressions than an eighteenth-century artist; so much so that our language, for example is full of diminutives and abbreviations."
"The compression of the modern picture, its variety, its breaking up of forms.. .It is certain that the evolution of the means of locomotion and their speed have a great deal to do with the new way of seeing. Many superficial people raise the cry 'anarchy' in front of these pictures because they cannot follow the whole evolution of contemporary life that painting records."
"..it [painting art] has never been so truly realistic, so firmly attached to its own period as it is today. A kind of painting that is realistic in the highest sense is beginning to appear, and it is here today.. .The advertising billboard, dictated by modern commercial needs, that brutally cuts across a landscape.. ..this yellow or red poster shouting in a timid landscape, is the best of possible reasons for the new painting; it topples the whole sentimental literary concept and announces the advent of plastic contrast."
"Naturally, in order to find in this break [in the visual perception] with time-honored habits a basis for a new pictorial harmony and a plastic means of dealing with life and movement, there must be an artistic sensibility far in advance of the normal vision of the crowd."
"From the day that the impressionists liberated painting, the modern picture set out at once the structure itself on contrasts; instead of submitting to a subject, the painter makes an insertion and uses a subject in the service of purely plastic means.. ..[the contemporary painter] must prepare himself in order to confer a maximum of plastic effect on means that have not yet been used. He must not become an imitator of the new visual objectivity, but be a sensibility completely subject to the new state of things."
"Contrast = dissonance, and hence a maximum expressive effect. I will take as an example a commonplace subject: the visual effect of curled and round puffs of smoke rising between houses. You want to convey their plastic value.. .Here you have the best example on which to apply research into multiplicative intensities. Concentrate your curves with the greatest possible variety without breaking up their mass; frame them by means of the hard, dry relationship of the surfaces of the houses, dead surfaces that will acquire movement by being colored in contrast to the central mass and being opposed by live forms; you will obtain a maximum effect."
"The concept of Abstract painting is not a passing abstraction, good only for a few initiates, [but] the total expression of a new generation whose necessities it experiences and to all of whose aspirations it constitutes a response. (quote, 1920)"
"This mechanical element, which one is sorry to see disappear from the screen, and which one is impatient to see again, is discreet; it appears only at intervals, and far off, like a spotlight that flashes on in a long, intermittent, harrowing drama of totally uncompromising realism. The plastic event is non-the less there and seems to me be laden with consequences both in itself and for the future. [on the filming of Abel Gance's La Roue, 1922]"
"The relationship of volumes, lines, and colors demands absolute orchestration and order. These values are all unquestionable influential; they have extended into modern objects such as airplanes, automobiles, farm machines, etc. Today we are in competition with the 'beautiful object'; it is undeniable. Sometimes its plastic qualities make it beautiful in itself and consequently unusable; one can only fold one's arms and admire it. There is also today an astonishing art of window display. Certain store windows are highly organized spectacles.. .If, pushing things to extremes, the majority of manufactured objects and 'stored spectacles' were beautiful and had plasticity, we artists would no longer have any reason to exist."
"Instead of opposing comic and tragic characters [as Molière and Shakespeare] and contrary scenic states, I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of gray. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety."
"..the personification of the close-up detail, the individualisation of the fragment, where the drama takes shape, moves and have it being. Film concurs with this aspect for life. The hand is a multiple, transformable object. Before I saw it in a film, I did not know what a hand was! The object in itself is capable of becoming an absolute, moving, tragic thing."
"[a new order] ..independent of the values of the feelings, and the description and imitation of nature.. .The value of technique beauty without artistic intention resides in its organism and can be deducted at the same time by its geometric ambitions. I can therefore speak of a new order: the architecture of the technical world. Since the industrial object belongs to the architectonic order, it is assigned an important role in today's artistic creation."
"I myself have employed the close-up, which is the cinema's only real invention. The fragment of the object has also been of use to me; by isolating it you personalize it. All this work has led me to regard the phenomenon of objectivity as a new and highly contemporary value in itself [quote of c. 1927]."
"These new means [in the modern film, 1920's] have given us a new mentality. We want to see clearly, we want to understand mechanisms, functions, motors, down to their subtlest details. Composite wholes are no longer enough for us – we want to feel and grasp the details of those wholes – and we realise that these details, these fragments, if seen in isolation, have a complete and particular life of their own.. .Close-ups in the cinema are a consecration of this new vision.. .A shoe as beautiful as a picture. A picture as beautiful as an X-ray machine."
"The love of simplicity, precision and clarity, is totally Western. Today's rational plastic form does not come from the Mediterranean or the Orient; it comes from the North [of France]. The North, younger, quicker less subtle, has seen straight to the heart of the new problem of construction that is posed by modern life."
"The essential is the object. Error consists in forgetting that grain, cotton, wool are vital objects and in being interested in them only because of their value in gold, their speculative value. The economic purpose is not 'to make millionaires out of gasoline' but to distribute gasoline according to demand and need. [Wall street] is an abstraction."
"The age we live in is largely – and I think mostly – 'objective', but a minority is reacting against this.. .My feeling is that I made colour – the colour plane – 'objective' in 1918, 1920 and 1921. There is a feeling of objectivity in all the great Primitives – but in 'the subject' there is no solution for the object, which has so much intrinsic value that it is 'highly explosive'; it destroys all the things around it, unless they have been designed specifically to serve as a setting for it."
"An example: if I compose a picture using as objects a scrap of bark, a scrap of butterfly wing and a purely imaginary form, you probably won't recognise the bark, or the butterfly wing, and you'll say: 'What does this stand for? It is an abstract picture. No it's a representational picture'.. .There is no such thing as 'abstract', or 'concrete' either. There is a good picture and a bad picture. There is the picture that moves you and the picture that leaves you cold.. .A picture has a value in itself, like a musical score, like a poem."
"The mural artist is concerned with bringing to life dead surfaces by the application of colour."
"It is from.. ..Renaissance that individualism in painting dates; and I do not believe there is any use in looking in this direction if we desire to bring into being a fresh mural art, one that shall be at once popular, collective and contemporary."
"..a yellow square, a red and blue avenue, an Eiffel tower with a camouflaged silhouette.. ..that would all be lit up at night, instead of fireworks. [a proposal to Trotsky of a 'polychrome Moscow', for the 1937 exhibition]."
"Of the various plastic orientations developed over the past twenty-five years, abstract art is the most important, the most interesting.. .It is an extreme state which only a few creators and admirers are capable of achieving. The danger of this formula lies in the very elevation of its intention. Modelings, contrasts, objects have disappeared, leaving only very pure, very precise relations, and a few colors, a few lines; blank spaces, without depth. Add to this a respect for the vertical plane – thin, rigid, sharp. It is a true, incorruptible purism."
"It is a true, incorruptible purism.. .It is a religion that cannot be argued about. It has its saints, its disciples and its heretics. Modern life with its speed and tumult, dynamic and full of contrasts, beats furiously against this light, luminous, delicate structure, which emerges coldly from the chaos. Do not touch it, it is an accomplished fact. It had to be, it is there to stay. [quote, 1945]"
"It's not a country – it's a world. It's impossible to see the limits.. .It's only in Russia that I had a similar impression, but it wasn't the same thing. In America you are confronted with a power in movement with force in reserve without end. An unbelievable vitality - a perpetual movement."
"It is an outrage towards the masses.. ..It's wanting to treat them as though they're incapable of raising themselves up to this new realism [promoted by Léger and Le Corbusier ] which is that of their area, which they've made with their hands.. .To want to say to these men 'the modern is not for you it's an art for the rich bourgeoisie..' [attack on the notion of Social Realism art]"
"At the same time we would most like to run the film back and see how the sanctuaries close again and the lights go out and the great powers of nature are once again met with deserved reverence. One can fell an oak in twenty seconds; but in order to become what it now is, it grew for a century.. ..Progress is but a word without sense, and the cow, which keeps the world alive, will not move faster than three kilometers per hour in the future, either."
"This is the visual world, using the most advanced advertising techniques that are familiar to the crowds in their daily life.. ..What kind of representational art do you want to inflict on these men then, when they’re solicited everyday by the cinema, radio, huge photo montages and advertising hoardings? How can you compete with these enormous modern mechanisms, which give you art to the 1000th degree?"
"..between ourselves, do you think a worker wants to hang a picture in his home where he sees himself sweating in a factory? He would prefer a bouquet of flowers or a pretty landscape. [Leger's critic on Aragon's Social Realism ]"
"They are not like the – patron’s hands or the – blessing hands of the curate – They resemble their tools, mountains, tree trunks.. .The time is approaching when machines will – work FOR them – Then he will have hands like his boss – WHY NOT? – He's on the way – HIS LIFE begins TODAY [written text in his painting 'Les mains – hommage a Majakovski', 1951 - [ Vladimir Mayakovsky was a Russian Futurist poet]."
"One day I had painted a bunch of keys on a canvas, my bunch of keys. I didn't know what to put next to them. I needed something that would be the absolute opposite of a bunch of keys. So when I finished work I went out. I had only walked a few yard when what should I see in a shop windows? A postcard of the Mona Lisa! At once I knew that was what I needed; what could have made a greater contrast to the keys?. ..Then I also added a can of sardines. It was such a strong contrast. [on his painting 'La Joconde aux Clés']."
"There was no telling who this head, or this leg, or that arm, belonged to.. .So I scattered the limbs in my painting and realized that in this way I was getting much closer to the truth than Michelangelo did when he concentrated on every separate muscle."
"I venture out to the great 'sujet'; but, I repeat, my painting always remains object painting; it starts around 1936 with 'Adam et Eve'. My figures humanise themselves further, but I always stick to the pictorial circumstance – no eloquence, no romanticism -"
"Isn't it human to go beyond the limits, to grow beyond oneself, to strive toward freedom! The round is free. [quote on the Circus, 1950's]"
"The earth is round, so why to play it square? Beneath the sun and beneath the moon, in the clouds that sail gently by, everything is going round. Children dance in a ring; there is the Tour de France, and the bikes, and the eyes that look at them and frame them on the road.. .You leave your rectangles, your geometrical windows, and you go to the land of circles in action.. ..It's human nature to break through boundaries, to grow, to push towards freedom. Roundness is free; it has no beginning and no end. [referring to the circus ring]"
"I wanted to proclaim a return to simplicity by ways of an immediate art without any subtlety, comprehensible to all. I love Louis David, because he is so anti-impressionist.. .I love the dryness in his work and also in that of Ingres. That was my way, and it touched me, instantly."
"I was attracted to Romanesque sculptures, to the complete re-invented figures and the freedom with which the Romanesque artist constructed them. He does not copy, he creates in a totally anti-Renaissance fashion can say that in Romanesque sculpture I have found a starting point for distortion."
"I dispersed my objects in space and got them to hold together by making them radiate forwards, out of the picture. It's all an easy interplay of chords and rhythms made up of foreground and background colours, of conducting lines, of distances and of contrasts."
"Let us take the time in this fast and ever-changing life which harasses us and tears us to pieces; to have the strength to remain slow and calm. To work outside the elements of disintegration that surrounds us. To comprehend life in it slow and calm sense. The work of art requires a temperate climate in order to develop fully. In this heightened tempo which is the law of life, to determine fixed points to hold onto them and to slowly work on the achievement of the future."
"In 1942 when I was in New York, I was struck by the neon advertisements flashing all over Broadway. You are there, you talk to someone, and all of a sudden he turns blue. Then the colour fades - another one comes and turns him red or yellow. The colour – the colour of neon advertising is free; it exists in space. I wanted to do the same in my canvases."
"The time of the often criticized art without real subject [l'art pour l'art] and the art without object [ Abstract art ] seems to be over. We are experiencing a new return to the meaningful subject, which the common people can understand"
"From our very first conversation in the Closerie des Lilas the day after the opening of the first exhibition of Futurist painting [in Paris, February 1912] I noticed that Fernand Léger was one of the most gifted and promising Cubists.. .Léger's article ['Les origins de la peinture et sa valeur representative', Mai 1913) is a true act of Futurist faith which give us great satisfaction - all the more so since the author is kind enough to mention us."
"It is curious to note that the most intellectual kind of painting, the one that tries to reduce reality to its essential elements, is ultimately but a visual delight. All it has kept of the world is its color. This is apparent particularly in Léger."
"One day Pierre Loeb said to me that the ideal picture is one which is completely clear in the artist's mind before he puts a mark on the canvas, and this was, at any rate in this period.. .Léger's opinion. It is the basis on which classical art is built. Therefore the setting-down of the picture on the canvas is in itself something quite unimportant. This is connected with Léger's hatred of textural effects in painting. But I love these effects. I remember that I was once told off because I had applied a thick layer of color instead of the thin and even layer that Léger wanted. To him that was not painting but mere color. If he could have got a machine instead of a brush to apply the color, he would have done so."
"You can tell in Léger just when he discovered how to make it like an engine.. .What's wrong with that? You see it in Barney (= Barnett Newman) too, that he knows what a painting should be. He paints as he thinks painting should be, which his pretty heroic."
"Léger was a big, avuncular, kindly sort of man, as I remember him. And he would look at what I — [laughs] — put there, and he'd find something. He only made one or two comments. The one I remember was, "Ça, ça saut de la peinture" He'd find a place, and he'd say: "That jumps out of the painting." Or he'd say: - he had this, I think, Norman accent - "Ça commence:" [Laughs.] "That's beginning." And those two - no - but he had body language, too. You knew if he liked it or if he didn't like it by watching him."
"It's afterwards you realize that the feeling of happiness you had with a man didn't necessarily prove that you loved him."
"It was the men I deceived the most that I loved the most."
"I see journalists as the manual workers, the laborers of the word. Journalism can only be literature when it is passionate."
"Ce qui remplit le temps c'est vraiment de le perdre."
"Paradoxically, the freedom of Paris is associated with a persistent belief that nothing ever changes. Paris, they say, is the city that changes least. After an absence of twenty or thirty years, one still recognizes it."
"Alcohol doesn’t console, it doesn’t fill up anyone’s psychological gaps, all it replaces is the lack of God. It doesn’t comfort man. On the contrary, it encourages him in his folly, it transports him to the supreme regions where he is master of his own destiny."
"Acting doesn't bring anything to a text. On the contrary, it detracts from it."
"Writing is not speaking. It's silencing yourself. It's screaming without noise."
"There is no vacation from love, it doesn't exist. Love, you must live it fully, with its boredom and all, there is no possible vacation from that."
"(What moves you most in a work of literature?) I’m not yet the writer I aspire to be, but at my age, great books written by women over 60 give me hope. Diana Athill, Colette, Harriett Doerr, Marguerite Duras, Grace Paley, Elena Poniatowska, Jean Rhys, Mercé Rodoreda, to name but a few."
"I think there are three qualities that people believe are weaknesses, but which I believe are strengths, particularly for a filmmaker: paranoia, megalomania and mental contagion."
"This film is extremely visual. It is difficult to describe in words without running the risk of losing or boring the reader. I have come up with a simplified summary, therefore, like a readers guide, which will conjure up the images in as few words as possible :"
"You no trouble. Me... Fifth element... supreme being... me protect you."
"You humans act so strange. Everything you create is used to destroy."
"Life was given to us a billion years ago. What have we done with it?"
"Learning's always a painful process."
"I AM EVERYWHERE"
""I would rather stop too soon than too late." - Interview for The Guardian (2011)"
""The most difficult part of filmmaking, is the need for directors to find a balance between being sensitive and being the leader." - Interview for The Hollywoodreporter (2017)"
"“If you’re a race runner, and you run, and progress, and you have the feeling that, yeah, you’re pretty good. You watch your time, and every week you make it better, and there’s a certain moment that you feel that maybe you can go to the Olympic games because you feel good. And then you watch TV and you see Usain Bolt. And then you say, ‘I’m not going to go this year, I’m going in four years’. - Interview for The Alarabiya (2017)"
""The most important thing is always the story. Then come the actors." - Interview for The Cinema (2018)"
""I love the fantasy and it’s so enjoyable and so funny and fresh. You can reinvent everything and yeah, it’s very enjoyable." - Interview for The Denofgeek (2018)"
"“I like to start on time because I love to let the people go on time because they have families. They have kids and I don’t want to abuse them for 2 hours. - Interview for The Cinemovie (2017)"
"When you're watching sci-fi today, driven ninety percent by Marvel and DC Comics, there's feeling, there's a pattern, there's a thing, and then we get used to it. - Interview for The Slashfilm 92017)"
"If you find the actress or the actor who is perfect for the role, that’s unbeatable. If you choose someone because he’s known or because you think he’s going to make money or things, three years later, you never know. - Interview for The Thriftyjinxy (2017)"
"You know, money will never save anyone. Compassion can save someone, love can save someone, money will never save anyone. And as long as the entire society will put money first... Money should be like third or fourth or fifth, I'm not saying lets get rid of money, but how can we put money as number one? As the only value, like if you are rich, you're famous you go VIP, why? It's just insane, the way we've transformed the society. - Interview for The Huffpost (2017)"
"Loving a film is like falling in love with a woman or with a man like you never expect it. It's not the one you think you will be in love with, you know. You think always that he will be with a beard, and black, and big and finally he's Chinese and you know it's the same thing. There's something very organic about the film and if you forgot it, if you don't have this seed in it...this organic flavor in it the film doesn't work it's wrong. - Interview for The Collider (2016)"
"Sometimes I see people finish a film and they go, "Yeah, that was good. Where are we going to eat?" - Interview for The Slashfilm (2016)"
"You get used to terrorist attacks. France will hold on. The French will hold on, without even needing a “sursaut national,” a national pushback reflex. They’ll hold on because there’s no other way, and because you get used to everything. No human force, not even fear, is stronger than habit."
"I was very shocked that it was called a theory. It's not a theory, it's a fact."
"But isn't this an illusion? We know that men, given the chance to choose for themselves, will all make exactly the same same choice. That's why most societies, especially Muslim societies, have matchmakers. It's a very important profession, reserved for women of great experience and wisdom. As women, obviously, they are allowed to see girls naked, and so they conduct a sort of evaluation, and correlate the girls' physical appearance with the social status of their future husbands. In your case, I can promise, you'd have nothing to complain about...""
"To begin with Tisserand appeared to be interested in a twenty-something brunette, a secretary most like. I was highly inclined to approve of his choice. On the one hand the girl was no great beauty, and would doubtless be a pushover; her breasts, though good-sized, were already a bit slack, and her buttocks appeared flaccid; in a few years, one felt, all this would sag completely. On the other hand her somewhat audacious get-up unambiguously underlined her intention to find a sexual partner: her thin taffeta dress twirled with every movement, revealing a suspender belt and minuscule g-string in black lace which left her buttocks completely naked. To be sure, her serious, even slightly obstinate face seemed to indicate a prudent character; here was a girl who must surely carry condoms in her bag. [...]"
"On my return I sensed that something new was in the offing. A girl was sitting at the table next to mine, alone. She was much younger than Véronique, she might have been seventeen; that aside, she horribly resembled her. Her extremely simple, rather ample dress of beige did not really show off the contours of her body; they scarcely had need of it. The wide hips, the firm and smooth buttocks; the suppleness of the waist which leads the hands up to a pair of round, ample and soft breasts; the hands which rest confidently on the waist, espousing the noble rotundity of the hips. I knew it all; all I had to do was close my eyes to remember. Up to the face, full and candid, expressing the calm seduction of the natural woman, confident of her beauty. [...]"
"I was starting to feel like vomiting, and I had a hard-on; things were at a pretty pass. I said `Excuse me a moment,' and crossed the discothéque in the direction of the toilets. Once inside I put two fingers down my throat, but the amount of vomit proved feeble and disappointing. Then I masturbated with altogether greater success: I began thinking of Véronique a bit,of course, but then I concentrated on vaginas in general and that did the trick. Ejaculation came after a couple of minutes; it brought me a feeling of confidence and certainty. [...]"
"From the amorous point of view Véronique belonged, as we all do, to a sacrificed generation. She had certainly been capable of love; she wished to still be capable it, I'll say that for her; but it was no longer possible. A scarce, artificial and belated phenomenon, love can only blossom under certain mental conditions, rarely conjoined, and totally opposed to the freedom of morals which characterizes the modern era. Véronique had known too many discothèques, too many lovers; such a way of life impoverishes a human being, inflicting sometimes serious and always irreversible damage. Love as a kind of innocence and as a capacity for illusion, as an aptitude for epitomizing the whole of the other sex in a single loved being rarely resists a year of sexual immorality, and never two. In reality the successive sexual experiences accumulated during adolescence undermine and rapidly destroy all possibility of projection of an emotional and romantic sort; progressively, and in fact extremely quickly, one becomes as capable of love as an old slag. And so one leads, obviously, a slag's life; in ageing one becomes less seductive, and on that account bitter. One is jealous of the younger, and so one hates them. Condemned to remain unvowable, this hatred festers and becomes increasingly fervent; then it dies down and fades away, just as everything fades away. All that remains is resentment and disgust, sickness and the anticipation of death."
"Q: Silly question. What do you think will take to kill the Hulk?"
"I love CGI, but we’re not using CGI in this one. [...] Puppets, man. Puppets!"
"We need to serve the fans. But also, we need to create new fans. Kids these days haven't seen puppets. They've seen fuzzy puppets. They haven't seen puppets that look like this. This is quite different. It's quite scary. There's a lot of action, a lot of drama, a few deaths. So, a lot of that stuff, it's multi-generational, but it definitely brings in everything you know about The Dark Crystal."
"The Dark Crystal is a movie I saw a little too young, it shocked me a little bit and never left my mind."
"This weird UFO of a movie that didn't belong in the Eighties. It was ahead of its time and a little bit obsolete at the same time because it was done with puppets."
"[T]here was a whole bunch of elaborated ideas from Jim Henson and Frank Oz, the story that led to the movie, and that stuff was so interesting to me that eventually I was like, you know what? I'd like to take a look at what happened before the movie. It's such a big canvas that it might not even be a movie, it might be a series."
"My challenge was working with puppets, but their challenge was working with Louis Leterrier. I was non-compromising, "this will not look like your grandfather's puppet show, and this will look like The Dark Crystal, that broke the mould then, so let's break it again and bring puppetry as far as it can get", and that's really what we did."
"In every scene at least I want to do something that has never been done with a puppet. I was coming up with some ideas and concepts, doodles for how the puppets could do these things. I want to see a puppet swim, I want to see a puppet crashing through water, I want to see it run, I want to see it jump."
"We just enhance the eyes, a quiver of the mouth, the eyes fluttering a little bit, glossing over. But it's still the glass eye of the puppet, it's still the skin of the puppet, we move it just slightly, and that made a huge difference. The limits I set were that it cannot be better than what you could do with an amazing animatronic puppet with lots of motors and stuff."
"When they talk about “The men ruined this, the men did that,” it is a person, and their sex comes after what they’ve done. I believe that we say too much “We the women” and “We the men,” but should say “We the human beings.” There are really two types of human being -- the ones who care about environment, who want a more just society; and the other ones who care about greed and war. So it’s not a question of East and West, and American and Iranian, and women and men."
"The words are not the same and the feeling is not the same. You know, they say in France that translation is like a woman. She is either beautiful or faithful. So it’s better when she’s beautiful because when she’s too faithful it might be very ugly. This is French people. This translation, though, is very well made. This is my American editor, who knows me very well who has made the translation. But in any translation you lose a little bit."
"If the majority of people were right, we'd be living in paradise. But we are not living in paradise, we are living in hell. What does it mean? That means the majority of people are wrong. So I never believed what people told me."
"This is past, and it really comes from a very dark moment of my life. Dying is...When people say there is no alternative, there is always an alternative - to die, for example. It's a choice. You always have this choice."
"Well depressive, I don't know. If you have a little sensibility or a heart you have all the reason to be depressed once in a while. But the depression is like a motor for creation. I need a little bit of depression, a bit of acid in my stomach, to be able to create. When I'm happy I just want to dance.""
"I started to watch the ocean. I was not looking at it like I used to; it became like a grave."
"As a mixed [-race] girl, there’s always a visible and invisible side of you; there’s a place you inhabit and place you desert,” she says. “How does the place that you don’t live in influence you?"
"My family history is made of migration; it’s something that’s part of my own complexity."
"When I started writing the script, I realized that I hadn’t really seen any film with a black couple that was worthy of Romeo and Juliet…And through Ada and Souleiman I wanted to relate a similar kind of tragic love, in the age of rampant capitalism."
"I waited so long to tell this story partly because when I started to make comics I didn’t want to be the guy of Arab origin who makes comics about Arab people…I didn’t want to be the official Arab comics artist. So I made a lot of comics in France which weren’t related to this part of me. I made a movie. But even during all that other work, I was thinking I have this good story, how could I tell it?"
"So the reader thinks: “My God, this man is saying horrible things in front of a child!”…It’s more sincere ... I wanted to try to describe the dark side and the positive side – if there was a positive side – all together ... I wanted to express the paradox that was in my father between modernity and tradition. It is a very common and human paradox. How can you be modern and progressive and still respect ancestral tradition? It generates conflict in the mind, I think."
"I don’t want to read modern comics, comics that are made today. I take care not to read too many contemporary comics, because I’m afraid it will influence me. Or it will complex me in a way. I see someone doing something great and I will say, “Oh, my god, I am shit — what am I doing?” So I prefer not to read them. Sometimes, when it appears to be incredible, I will read it — but I’m very afraid of reading modern comics. I read only old things and things I liked when I was young…"
"I tried not to generalize. But a lot of guys are like my father. He came from a poor family — the gap between where he started and where he ended up as a doctor was too big, and he was thinking he had a destiny! He was a little bit crazy. And he was so proud of this. He also hated Israel. It was a huge humiliation for him and his friends — the defeats by Israel. It was like a personal defeat. So he hated the United States, of course; he hated Europe because they had good relations with Israel. It was, like, biblical. As if Europe and the United States prefer the Jew to the Arab. And he wanted to say, “But I am as intelligent as them.” It was very strange."
"(What’s the last great book you read?) ...I tore through two volumes of “The Arab of the Future,” by Riad Sattouf — it’s the most enjoyable graphic novel I’ve read in a while."
"The last scene came really, really early, disconnected from even the idea of a woman painter…I wanted to write a love story and I thought, ‘What do I want to tell?’ And that scene came up really, really quickly, alone, by itself. The weird compass of the film was its last scene. That’s a compass, but it’s a high pressure one."
"We want people to have their heart broken and think about themselves, but enjoy this experience of this strong love story...But it’s also about the memory of a love story. It’s a lot about the present, the rise of desire, but it’s also about what’s left of a love story. What’s the memory of a love story. There’s these two timelines that sometimes are contiguous, contaminating one another. We are trying to propose another politic of love where it’s not about possession or donation or eternal love or death or eternity or whatever. It’s more about love as a dynamic that can only grow."
"It's a very bourgeois industry. There's resistance to radicalism, and also less youth in charge. "A film can be feminist?" They don't know this concept. They don't read the book. They don't even know about the fact that "male gaze" exists. You can tell it's a country where there’s a lot of sexism, and a strong culture of patriarchy."
"We call models "muses", and that's mostly what's left in the history of art for women artists...Dora Maar was the muse of Picasso but also a photographer at the centre of the surrealist scene. And |Gabrièle Picabia was the wife of [avant-garde painter [[w:Francis Picabia||Francis] Picabia]] but also the brain of his work. It's about co-creation, not this fetishised, silent woman standing there beautiful and mute"
"A few weeks ago I went to a screening of 'Portrait of a Lady on Fire' at Utopia. I'm not a very introspective person but when I get on that stage, it feels even more overwhelming than showing my films at the Cannes film festival. Because standing there, I'm so close to my past. I can see how far I've come."
"I'm not saying that you have to love it all. [...] But, yes, you should love it all."
"I never point a finger. If we reach people's brains and hearts and we try to come up with ideas, we can help them go in a direction which will solve a lot of the problems we've created. And you know, then again, whether it's in government or industries, these people have families and they care. They want to do the right thing, but we need to help. And thanks to science and new technologies, we can make that happen."
"Too often people think education is boring. Well, it’s not boring! And particularly, if you have people who can communicate with you and also, sometimes, information that experts can provide you. That’s why I always go with biologists or people who can educate me. I want to be educated all the time."
"Everybody needs to understand when you drink a glass of water you’re drinking the ocean. There’s only one water system. If you go up in the Alps or wherever on top of the mountains to go skiing, you’re skiing on the ocean. That water system is life for every plant, every animal, and we need to manage it like a business. We need to make sure it’s not polluted and we need to stop using the ocean ultimately as a universal sewer."
"Jean-Michel Cousteau said he thinks whales are like a living, breathing planet–each one. I love that he said that. I’d thought he’d be a great photographer and a good guy, but he’s also very poetic in how he sees the world"
"This is an inheritance for the future, and what better way to get people interested and understanding that than getting them involved. The key elements are education, empowerment, and restoration. Education: getting people to connect with the ocean, to understand why it's important, why they should care, whether they're on the oceanside or not. Empowerment: saying, you can make a difference, and come with us, let's go do it together. And of course the restoration aspect is the payoff."
"Nothing is impossible. We need to dream, we need to be creative, and we all need to have an adventure in order to create miracles in the darkest of times. And whether it's about climate change or eradicating poverty or giving back to future generations what we've taken for granted, it's about adventure. And who knows, maybe there will be underwater cities, and maybe some of you will become the future aquanauts."
"If we want to give back to future generations what we have taken for granted, we have to understand the planet as a natural resource bank account. In other words, we need to start investing in depleted capital and live off the interest instead. There are plenty of individuals from both countries who are conscious of these things and trying to do better. But, we need to do much better as a global society. All countries need to communicate the importance of this life support system and protect this web of life. We must be able to live with the planet and not on it."
"The Dalai Lama was little known, because he had never traveled abroad and was not yet a Nobel Prize winner, but he opened all the doors for me and I was able to film all the greats Tibetan masters, rinpothes and toulkus who had fled with him."
"At that time, the Dalai Lama was much more accessible, I had breakfast with him and spend long moments alone with him."
"I find that violence is very ambiguous in movies. For example, some films claim to be antiwar, but I don't think I've really seen an antiwar film. Every film about war ends up being pro-war."
"Science does not aim to cover exhaustively the whole of reality, but to construct systems and concepts which will perhaps — and it is a big perhaps — allow man to act on the world."