I really, sincerely believe that one should trust the work, and not the author.
I have often thought it was very arrogant to suppose you could make a film for anybody but yourself.
It's strange. In the last five minutes you have used my Christian name over and over again and never before. People I like learn my name too late.
Isn't that why people keep diaries -- to be read by someone else? Why would they keep them otherwise?
Too many stupid people have it.
That comes from most people having an American film model in their heads which is nothing but a total illusionary masturbatory massage.
Jean Renoir once suggested that most true creators have only one idea and spend their lives reworking it, but then very rapidly he added that most people don't have any ideas at all, so one idea is pretty amazing.
My personal obsessions are much more interesting to me than other people's.
I am certain that there are two things in life which are dependable -- the delights of the flesh and the delights of literature. I have had the good fortune to bring them together and enjoy them together in full quantity.
The major sweep of this book's living is too often marred by qualifying. It is hedged about with ifs and buts and if onlys and howevers, excuses for a life that is about to shut its covers for the last time and then crumple into dust in an unseen and never-to-be-remembered library.
If Good approved of his creature's creation, He breathed the painted clay-model into life by signing His name.
A thrown-stone trajectory is a good metaphor for so many phenomena: the curve of an event, any event; the curve of a life, any life; the curve of a hypothesis; the curve experienced in the manufacture of a work of art; the curve of interest experienced in the manufacture of a catalogue.
Blood: A red substance believed to be capable of supporting life but which in a theatrical drama invariably indicates death.
Life is full of a thousand red herrings, and it takes the history of a civilisation to work out which are the red herrings and which aren't.
I also think that everyone has an elitist approach to his own art, a complex knowledge of it, whether he is a clockmaker or an engineer. And I think it's perfectly legitimate to make use of this knowledge because it enriches the overall texture of life.
Roy, this is my wife, Georgina Spica -- she has a heart of gold and a body to match... and I am Albert Spica and I have a heart of gold and a great deal of money to match.
Money's not interesting -- too easy to get hold of.
One of my heroes, almost necessarily from what I'm saying, of course, is Borges, who is a supreme master of doing thing -- being a data bank -- and the beauty of this economy is that he could have written War and Peace in three or four pages; who knows, it might have been a better book.
I think that films or indeed any art work should be made in a way that they are infinitely viewable; so that you could go back to it time and time again, not necessarily immediately but over a space of time, and see new things in it, or new ways of looking at it.
I'm an excuse for medical experiments and art theory. You must get me out of here and out of the hospital.
Perhaps, sadly, in the end, cinema is only a translator's art, and you know what they say about translators: traitors all.
I don't have any particular wish to be polemical or didactic; I don't have a message, but what I do thoroughly enjoy are those works of art, not necessarily in the cinema, but in the other arts as well, which have an encyclopaedic world.
I would be curious about one of those Jane Austen women -- you know -- long-suffering, dutiful -- but all right in the end -- a plump 19th century type, five foot four, ringlets, brown eyes, long fingers.
Cinema is dead. I can give you a date - it died on the 31st of September, 1983, when the zapper or the remote control was introduced to the livings rooms of the world. Bang! That's the end.
I married. I became a wife. I acquired a husband. I had a ceremonial wedding in style. Whichever way you say it -- it was bound to end badly.