Academy Award Winners

"We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still another under this last one, right down to the true image of that reality, absolute, mysterious, which no one will ever see or perhaps right down to the decomposition of any image, of any reality."

"Sometimes I pick up a magazine and read a piece of film criticism — to the end only if I like it. I don't like those which are too free with praise because their reasons seem wrong and that annoys me. Critics who attack me do so for such contradictory reasons that they confuse me, and I am afraid that if I am influenced by one, I will sin according to the standards of the other."

"My characters are ambiguous. Call them that. I don't mind. I am ambiguous myself. Who isn't?"

"Don't regard my characters as symbols of a determined society. See them as something that sparks a reaction within you so that they become a personal experience. The critic is a spectator and an artist insofar as he transforms the work into a personal thing of his own."

"When we say a character in my films doesn't function, we mean he doesn't function as a person, but he does function as a character — that is, until you take him as a symbol. At that point it is you who are not functioning. Why not simply accept him as a character, without judging him? Accept him for what he is. Accept him as a character in a story, without claiming that he derives or acquires meaning from that story. There may be meanings, but they are different for all of us."

"I think people talk too much; that's the truth of the matter. I do. I don't believe in words. People use too many words and usually wrongly. I am sure that in the distant future people will talk much less and in a more essential way. If people talk a lot less, they will be happier. Don't ask me why."

"Modern life is very difficult for people who are unprepared. But this new environment will eventually facilitate more realistic relationships between people."

"When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film. I never think ahead of the shot I'm going to make the following day because if I did, I'd only produce a bad imitation of the original image in my mind. So what you see on the screen doesn't represent my exact meaning, but only my possibilities of expression, with all the limitations implied in that phrase. Perhaps the scene reveals my incapacity to do better; perhaps I felt subconsciously ironic toward it. But it is on film; the rest is up to you."

"I don't want what I am saying to sound like a prophecy or anything like an analysis of modern society .... these are only feelings I have, and I am the least speculative man on earth."

"I would like to make clear that I speak only of sensations. I am neither a sociologist nor a politician. All I can do is imagine for myself what the future will be like."

"We are saddled with a culture that hasn't advanced as far as science. Scientific man is already on the moon, and yet we are still living with the moral concepts of Homer. Hence this upset, this disequilibrium that makes weaker people anxious and apprehensive, that makes it so difficult for them to adapt to the mechanism of modern life. … We live in a society that compels us to go on using these concepts, and we no longer know what they mean. In the future — not soon, perhaps by the twenty-fifth century — these concepts will have lost their relevance. I can never understand how we have been able to follow these worn-out tracks, which have been laid down by panic in the face of nature. When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them."

"I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space."

"I try to avoid repetitions of any shot. It isn't easy to find one in my films. You might, I suppose, see something twice, but it would be rare. And then, you know, every line requires its own kind of shot. The American method of shooting one actor continuously, then moving to the other, then intercutting both — this method is wrong. A scene has to have a rhythm of its own, a structure of its own."

"I began taking liberties a long time ago; now it is standard practice for most directors to ignore the rules."

"When I am shooting a film I never think of how I want to shoot something; I simply shoot it. My technique, which differs from film to film, is wholly instinctive and never based on a priori considerations."

"A director is a man, therefore he has ideas; he is also an artist, therefore he has imagination. Whether they are good or bad, it seems to me that I have an abundance of stories to tell. And the things I see, the things that happen to me, continually renew the supply."

"The principle behind the cinema, like that behind all the arts, rests on a choice. It is, in Camus' words, "the revolt of the artist against the real." If one holds to this principle, what difference can it make by what means reality is revealed? Whether the author of a film seizes on the real in a novel, in a newspaper story or in his own imagination, what counts is the way he isolates it, stylizes it, makes it his own."

"I find that it is very useful to look over the location and to feel out the atmosphere while waiting for the actors. It may happen that the images before my eyes coincide with those I had in my mind, but this is not frequently the case. It more often happens that there is something insincere or artificial about the image one has thought of. Here again is another way of improvising."

"I rarely feel the desire to reread a scene the day before the shooting. Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot. This is the system I prefer: to arrive at the moment when shooting is about to begin, absolutely unprepared, virgin. I often ask to be left alone on the spot for fifteen minutes or half an hour and I let me thoughts wander freely."

"For me, from the moment when the first, still unformed, idea comes into my head until the projection of the rushes, the process of making a film constitutes a single piece of work. I mean that I cannot become interested in anything, day or night, which is not that film. Let no one imagine that this is a romantic pose — on the contrary. I become relatively more lucid, more attentive, and almost feel as if I were intelligent and more ready to understand."

"The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical."

"I am not a theoretician of the cinema. If you ask me what directing is, the first answer that comes into my head is: I don't know."

"The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blow-Up."

"Hollywood is like being nowhere and talking to nobody about nothing."

"My work is like digging, it's archaeological research among the arid materials of our times. That's how I understand my first films, and that's what I'm still doing..."

"Brecht always liked people to be aware that they were in a theatre. I said to him more than once, but Brecht, what makes you think they think they're anywhere else?"

"Asking a working writer what he thinks about critics is like asking a lamp-post what it feels about dogs."

"Masturbation is the thinking man's television."

"I always divide people into two groups. Those who live by what they know to be a lie, and those who live by what they believe, falsely, to be the truth."

"Putin is a great leader for his country and the people love him."

"He [JKF] is one of the most important presidents because he was for peace at a time when we were on the brink of war. In 1960, when he ran, the Pentagon was ready to take out Russia on the first strike. This was what their thinking was: "We gotta nail these bastards now" ... That was their Dr Strangelove thinking. Johnson put us right back smack into the middle of the biggest war we'd ever had since WWII and it was a disaster, as you know. A debacle."

"The Warren commission (into Kennedy’s assassination) was a sham. They (meaning the intelligence agencies) appointed it. Lyndon Johnson basically didn't want problems because he says he feared war with Russia over Cuba. That was his excuse. But if he’d really looked at the case, if he had had proper intelligence agencies working with him, he (would have known) that the Soviet Union had nothing to do with this assassination. Robert Kennedy and Jackie Kennedy wrote to (Russian president) Khrushchev saying, "We know it’s not you; we know it’s a right-wing plot from our own country." And that's what it was."

"There's been a campaign, a war against Russia going on for a long time. It started again in the United States around 2006... there's no evidence really of the aggressiveness of Russia. The aggressiveness is truly coming from the NATO forces that have encircled Russia and that are also, by the way, encircling China. You know, this is a big policy point, huge, of huge importance... we have to have people in the United States who speak up for the peace point of view... Let's get along with China. Let's get along with Russia, Iran, and so forth. We have to change our point of view because we are seeking to still be the only power in the world that is in control of the world. We cannot continue on this path; it's a suicidal path. And I think many Americans agree with me, but it's never been allowed to be stated politically. People who say this type of stuff never win elections because they're ridiculed or marginalized in the press, to be honest."

"After Kennedy was killed, and nobody asked... what was Kennedy's real policy on Vietnam? Well... he was going to pull out of Vietnam. He was very clear about it, and that's what people get confused. Johnson, Lyndon Johnson, who took over the office went right to war quickly. He went to a far more aggressive posture of Vietnam, which resulted in more-- It was a lie, another lie, and that war was a disaster... Unfortunately, the same forces that made that war happen continued in our life, and they controlled us and pushed us into another war and another war and another war... we propagandize an enemy, make him far bigger than he is, and I don't know what we're fighting."

"[On his documentary JFK Revisited: Through the Looking Glass (2021)] As one of our interviewers, David Talbot, says in the film, once you kill a sitting president in high noon in Dealey Plaza and blow his head off, you're not going to go back to normal and say, "Oh, wow! We found this whacky--this crazy lone nut who killed him." It doesn't work. It doesn't really work as a narrative for this country. What happened was much deeper than that, and there was so many inconsistencies, so many holes in the Warren Commission... The point is that you cannot remove legitimacy from government like that and get away with it, and the people knew something was wrong. They didn't know exactly what was wrong, but they sensed that something had gone astray, like anarchy has set in. Some method of control was being exerted because forces that were more powerful than one person were able to kill him, forces that were somewhat, I mean, clearly related to intelligence agencies, to possible military agencies, and these forces came to dominate American life..."

"As if to prove Carter’s assertion, Vice President Mike Pence told the most recent graduating class at West Point that it "is a virtual certainty that you will fight on a battlefield for America at some point in your life... You will lead soldiers in combat. It will happen." Clearly referring to Venezuela, Pence continued, "Some of you may even be called upon to serve in this hemisphere." In other words, Pence declared, war is inevitable, a certainty for this country."

"Former president Jimmy Carter recently made a profound and damning statement — the United States is the "most warlike nation in the history of the world." Carter contrasted the United States with China, saying that China is building high-speed trains for its people while the United States is putting all of its resources into mass destruction. Where are high-speed trains in the United States, Carter appropriately wondered."

"Oliver Stone, an American writer and an Oscar winning filmmaker will present his documentary about Ukraine [Revealing Ukraine] at the 65th Taormina Film Festival... in Sicily on June 30 - July 6. ... The documentary... reveals the details of the 2014 uprising in Ukraine, discloses the connection between interference to the recent presidential elections in the U.S. and Ukraine, casts the light into the current situation with the conflict in Donbas."

"In the movie the main speaker – heavyweight Ukrainian politician, opposition leader –Viktor Medvedchuk is being interviewed by the renowned filmmaker Oliver Stone... also sat with Russian president Vladimir Putin to ask him a questions about Ukrainian crisis. They share their thoughts on the reasons for the conflict and ways to solve it. The audience will be guided through a behind the stages of the real “games of power” in a way that they can’t see in any mainstream mass media."

"But now, in March 2018, Putin was declaring that the US effort had failed. He unveiled the existence of five new nuclear weapons, all of which could circumvent US missile-defense systems. He concluded defiantly, "I hope everything that has been said today will sober any potential aggressor," adding, "No one listened to us. Listen to us now.""

"Acting like a hegemon, the United States, starting in 1999, took advantage of Russian weakness and broke its promise not to expand NATO, eventually adding 13 countries, the last of which was Montenegro, in 2017. When Bush announced plans to incorporate Georgia and Ukraine, Putin drew the line. Following the US-backed Ukrainian coup, he took back Crimea and made clear that there are limits to his toleration of NATO expansion..."

"In January 2018, the experts at the Bulletin of the Atomic Scientists moved the hands of the Doomsday Clock to two minutes before midnight, where it had stood during the darkest days of the Cold War, from 1953 to 1960. The latest move of the hands was precipitated by the recklessness in Trump’s nuclear thinking and the deepening crisis over Korea. Trump wondered aloud about the point of having nuclear weapons if he couldn’t use them."

"In all my public statements, I was not at all in favor of anything he [G.W. Bush] did. He was a disaster for the country in his reaction to 9/11...Worst president we've ever had... To say that Trump is similar is ridiculous because it trivializes the situation.... He's got enough nutcases around him between Bolton and Pompeo that I would worry very, very much... You've got to look back at George Bush... and understand what a mess he put us into. We have not gotten out of Iraq. We have not gotten out of Afghanistan. We have not gotten out of the War on Terror... which is the greatest fiction since the Cold War back in 1945."

"Putin is the most mature statesmen in the whole world right now. He's been there for four American presidents, since Clinton...He's been everywhere, met everybody. And he sees the world as needing balance. It's not a uni-polar world, dominated by the United States... He's been very clear that we need balances of regional power. Unfortunately, the United States just doesn't want to believe that...it's our military side that scares the sh-- out of me,.. as we tend to be arrogant, that's when you become very dangerous. Somehow we have to learn that we don't have to be number one. We can be partners with the world."

"Fidel Castro was a brilliant person who predicted everything that has happened in the world since 2001... I made the film Comandante with the idea that it would be a historical profile of the man. The film can be seen on YouTube, but it could never be screened in theaters in the United States because they censored it and removed it a week before it was due for release...Then we made Looking for Fidel, which was possibly the most aggressive interview with Fidel. I asked him very difficult questions and that movie was screened on HBO. However, given the good job that Fidel did answering the questions they do not put it on enough on U.S. television. HBO instructed me to ask Fidel hard, tough questions, to put him on the spot. As you all know, that was not easily done and he was brilliant in his answers to all my questions. I think that’s why HBO has not shown the movie again."

"The most shocking part [about the assassination of JFK] is...the sequence of the shooting, the timing,... the wounds and the autopsy. It’s all quite shocking when you...think seriously about it. It doesn’t make any sense the way they described it. That’s the most shocking part of the case. When you start to investigate Oswald, of course there are a thousand interesting things that come up. The files on Oswald were much more closely supervised by the CIA then we knew at the time and were omitted by the Warren Commission. They treated it like a routine investigation, but it was hardly so. We draw a line between the cover-up and the assassination. The cover-up is filled with another cast of characters. That is to say, the Warren Commission itself, who is in charge of the investigation; and the main man, Alan Dulles, the ex-chief of the CIA and one of the most powerful figures in government. He was fired by Kennedy, as were all his top officials, two years earlier. He was put in charge of the investigation and buried certain information. That’s part of the cover-up."

"Julian Assange did much for free speech and is now being victimised by the abusers of that concept."

"There was a civil war in this country... Kennedy provoked such hostility and hatred. His death was cheered in the South because of his support for Martin Luther King. He was moving to change things on all fronts. He was starting to end the Cold War. He made a deal with Khruschev and Russia in 1962 to end the missile crisis, and he furthered the... Nuclear Test Ban Treaty in 1963. He... described the Soviets for the first time in American history as mortals, like us, who care about their children. He seemed to have an expanding vision of the world, much like Gorbachev did in Russia in the '80s."

"Another film from Dreamworks which is also going to be unfriendly … I don't think most people in the US realise how important WikiLeaks is and why Julian's case needs support."

"Strong mind, no sun, friends who visit, work to be done, one documentary coming out from Alex Gibney that is not expected to be kind."