Alain Resnais Quotations

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A psychoanalyst would say I do it on purpose, but no, I don't think about them and can't stand seeing them again.
For the first time, I used a mix of black and white with color. In the editing room, I asked myself, What are you doing manipulating corpses this way?
I am never driven. Every film I've made has been an assignment.
I got a cassette of it, and then I watched the others and was very moved by them.
I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.
I saw part of The Singing Detective on TV in New York. I said, Something is going on here.
I turn the lights low and take no calls. I like Bob Hope; I find him mysterious.
I'd even say it's a realistic film because that's the way it happens in our heads; that was the idea.
It had to be an association of ideas between the intrigue and the song fragment.
It was repugnant, but it was the only way to communicate.
It's painful, either because the people onscreen have died, or because I don't think the direction is good. There's always something.
It's strange because I can't speak English well, but I am stirred by hearing it - Jack Benny, George Bums, Lucille Ball.
Louvre. Before, you had to be an assistant on nine films, and you couldn't just go from making a short to a feature.
Luck, I never looked to make difficult movies on purpose. You make the films you can make.
My dream would be to make a movie with Stephen Sondheim; I'm proud that I got him to do the music for Stavisky.
Oh, yes, that never happened to me in my life before. It was a risky film, and I warned the producer.
On a formal level, I found the ambiguity interesting. I was surprised that it worked, that the film provoked interest.
Since we had little money and few documents, we had nothing.
So I used formal techniques to make the film more perceptive emotionally.
That's easy to answer: I never had any special appetite for filmmaking, but you have to make a living and it is miraculous to earn a living working in film.
The heroine's memory, her affair with the German soldier, was the past, but the sound was in the present; we hear the sounds of Tokyo.
The present and the past coexist, but the past shouldn't be in flashback.
There was a darkness, a melancholy, that people had trouble accepting. Maybe now, it would work better.
They got the idea. In life, we rarely remember a whole song; in Potter, there's often a violent contrast between the situation and the song.
You might even imagine that everything the Emmanuelle Riva character narrated was false; there's no proof that the story she recites really happened.