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| 1. | A psychoanalyst would say I do it on purpose, but no, I don't think about them and can't stand seeing them again. |
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| 2. | 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? |
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| 3. | I am never driven. Every film I've made has been an assignment. |
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| 4. | I got a cassette of it, and then I watched the others and was very moved by them. |
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| 5. | 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. |
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| 6. | I saw part of The Singing Detective on TV in New York. I said, Something is going on here. |
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| 7. | I turn the lights low and take no calls. I like Bob Hope; I find him mysterious. |
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| 8. | I'd even say it's a realistic film because that's the way it happens in our heads; that was the idea. |
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| 9. | It had to be an association of ideas between the intrigue and the song fragment. |
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| 10. | It was repugnant, but it was the only way to communicate. |
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| 11. | It's painful, either because the people onscreen have died, or because I don't think the direction is good. There's always something. |
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| 12. | It's strange because I can't speak English well, but I am stirred by hearing it - Jack Benny, George Bums, Lucille Ball. |
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| 13. | Louvre. Before, you had to be an assistant on nine films, and you couldn't just go from making a short to a feature. |
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| 14. | Luck, I never looked to make difficult movies on purpose. You make the films you can make. |
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| 15. | My dream would be to make a movie with Stephen Sondheim; I'm proud that I got him to do the music for Stavisky. |
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| 16. | Oh, yes, that never happened to me in my life before. It was a risky film, and I warned the producer. |
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| 17. | On a formal level, I found the ambiguity interesting. I was surprised that it worked, that the film provoked interest. |
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| 18. | Since we had little money and few documents, we had nothing. |
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| 19. | So I used formal techniques to make the film more perceptive emotionally. |
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| 20. | 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. |
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| 21. | 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. |
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| 22. | The present and the past coexist, but the past shouldn't be in flashback. |
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| 23. | There was a darkness, a melancholy, that people had trouble accepting. Maybe now, it would work better. |
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| 24. | 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. |
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| 25. | You might even imagine that everything the Emmanuelle Riva character narrated was false; there's no proof that the story she recites really happened. |
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