Leos Carax Quotes

I don't think men were meant to be interviewed.

I thank Henry James for the scene in the hotel room, that I stole from Portrait Of A Lady This particular scene is the most beautiful scene ever written.

Even a fiction film is hard to end. You can going on shooting and editing a documentary forever.

When I was 16, I felt very relieved to discover cinema. It was like an island where I could see life and death from another perspective. Every young person should be interested in that island. It's a beautiful place.

Cinema is a territory. It exists outside of movies. It's a place I live in. It's a way of seeing things, of experiencing life. But making films, that's supposed to be a profession.

I'm not especially interested in actors or their life, double, triple identities and all that.

When I made my first film, I had hardly ever seen a camera before, and I was a young man when I arrived in Paris from the suburbs. At the time, I didn't talk much. I was very shy, so the bluff served me. I was telling people that I had no money, and that I knew how to make films, but I had no proof.

Girls always told me..."Don't complicate things." I did my best. It was so hard to keep things simple.

I feel that cinema is my country. But it's not my business.

When I was 16, I discovered this island called cinema and I thought: 'Oh, how wonderful; I'm ready.'

There's a real cowardice in the movie business. If you don't meet the right crazy people, you can't do it.

I'm not against the virtual world; it's fascinating, but I don't like the way they try to impose it on us. It's a thing imposed by rich countries.

I'm not a cineaste. I've made so few films. Sometimes it feels each one is the last one or the first one.

Men talk about art, and artists make art, but should artists talk?

I like tragedies, whether they're sci-fi or something else, but I can't say I know much about any genre in particular.

We all get a little tired of being ourselves sometimes. The answer is to reinvent yourself, but how do you do that and what is the cost?

I'm not only my films, but I'm pretty much my films.

The film is therefore a form of science fiction, in which humans, beasts and machines are on the verge of extinction - 'sacred motors' linked together by a common fate and solidarity, slaves to an increasingly virtual world. A world from which visible machines, real experiences and actions are gradually disappearing.

I mostly don't submit to talking about my work because I would like another talk about real life.