Quotes of All Topics . Occasions . Authors
A dead love never dies.
Anything that is not autobiography is plagiarism.
The life I live due to my work is difficult to share.
The 1980s really ended for me in 1992 with the film Kika.
An ample arse helps you to be weighed down and be grounded.
You can make a thousand different movies about the same subject.
Cinema can fill in the empty spaces of your life and your loneliness.
I was born at a bad time for Spain, but a really good one for cinema.
I think that the consciousness of passion makes you act very differently.
Cukor is one of my favorite directors. He was a master at directing women.
I think that there is always a part of utopia in any romantic relationship.
My first memory is of the eyes of my brother; he was looking at me all the time.
I ask myself questions that journalists don't dare to ask or don't know how to ask.
I'm more interested to show the darkest places of myself, and I don't joke about it.
I used this line to demonstrate how important colors are in movies: It's not a caprice.
I make movies for my needs. My goal has never, never, never been to make shocking movie.
Each actor is a very different person, and each one has to be directed very differently.
All my movies are difficult to classify because they are very eclectic in mixing genres.
I don't want the director to have to make any decisions except to say "action" and "cut."
I think my films are always political, even if I don't put explicitly political things in them.
There is a mysterious stillness and intimacy of a woman doing her hair and make-up which attracts me.
My mother was an extremely creative woman, despite the fact that she lived the life of a rural housewife.
Broadway musicals, where you sing the whole time, I really don't like; I like alternating dialogue and music.
Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be.
Already when I was very young, I was a fabulador. I loved to give my own version of stories that everybody already knew.
Never again work in the same conditions in whichyou made your first film. It's good to take risks, but not thatmuch risk.
Of course I want my films to look really good, but every single element is chosen for a reason. It's telling something in the story.
Before shooting, I prepare with the actors much more like it's a theater play than a movie. Apparently, that way of working is very unusual.
I am partly not conscious of structure with my movies, but this is when I am writing. I leave my mind very free, and then I correct it after.
The Flower of My Secret is definitely more based in true emotions. I also wanted to make something more realistic, but not naturalistic or simple.
With this silent film, I wanted to hide what was going on in the clinic. I wanted to cover it up in the best cinematic way and in an entertaining manner.
I remember myself at 10 years old telling stories to my sisters and brother. This is something I did through my adolescence and even through my twenties.
In fact, it was the women in our house who were in the saddle. If men are the gods, women are not only the presidents but all the ministers of the government.
I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.
If I make a movie in English, the money will come from Europe, so that I can keep my independence and freedom. The way they produce in Hollywood doesn't fit me.
Even though I love my mother, I didn't want to make an idealized portrait of her. I'm fascinated more by her defects - they are funnier than her other qualities.
When I was young I thought: when I am 60 my necessities will be very different. As I get near that age, I realise they are similar to what they were when I was 25.
La Mancha is a very macho, chauvinistic society. I saw very clearly that my life had to be in Madrid, and I liberated myself from my mum and dad after high school.
When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.
I think décor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
If I had not been successful as a director, then I'm sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them.
It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.
Cinema has become my life. I dont mean a parallel world, I mean my life itself. I sometimes have the impression that the daily reality is simply there to provide material for my next film.
Cinema has become my life. I don't mean a parallel world, I mean my life itself. I sometimes have the impression that the daily reality is simply there to provide material for my next film.
I don't want to imitate life in movies; I want to represent it. And in that representation, you use the colors you feel, and sometimes they are fake colors. But always it's to show one emotion.
Maybe it's the culture, maybe it's the cliché of Latino machismo, but the Mediterranean male character is more dull than the female character. Women are more surprising and they have fewer prejudices.
I was always storytelling, since I was a child. I remember myself at 10 years old telling stories to my sisters and brother. This is something I did through my adolescence and even through my twenties.
Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.
The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.