JACQUES RIVETTE

Kubrick is a machine, a mutant, a Martian. He has no human feeling whatsoever. But it's great when the machine films other machines, as in 2001.

I guess I like a lot of directors. Or at least I try to.

And Twin Peaks, the Film is the craziest film in the history of cinema. I have no idea what happened, I have no idea what I saw, all I know is that I left the theater floating six feet above the ground.

For me, the film has to be incredibly bad to make me want to pack up and leave.

Many filmmakers pretend that they never see anything, which has always seemed odd to me.

Their films would probably be better if they'd seen a few more films, which runs counter to this idiotic theory that you run the risk of being influenced if you see too much.

And I took a long time to appreciate Lynch.

Cocteau is someone who has made such a profound impression on me that there's no doubt he's influenced every one of my films.

I reject the word 'script' entirely-at any rate in the usual sense. I prefer the old usage-usually scenario-which it had in the Commedia dell'Arte, meaning an outline or scheme: it implies a dynamism, a number of ideas and principles from which one can set out to find the best possible approach to filming.

When you see the films of certain young directors, you get the impression that film history begins for them around 1980.

And Twin Peaks, the Film is the craziest film in the history of cinema. I have no idea what happened, I have no idea what I saw, all I know is that I left the theater floating six feet above the ground.

And the fact that I see so many films really seems to amaze certain people.

Many filmmakers pretend that they never see anything, which has always seemed odd to me.

And I took a long time to appreciate Lynch.

Whereas with Sirk, everything is always filmed. No matter what the script, he's always a real director.

For me, the film has to be incredibly bad to make me want to pack up and leave.

Their films would probably be better if they'd seen a few more films, which runs counter to this idiotic theory that you run the risk of being influenced if you see too much.

When you see the films of certain young directors, you get the impression that film history begins for them around 1980.

Cocteau is someone who has made such a profound impression on me that there's no doubt he's influenced every one of my films.

I guess I like a lot of directors. Or at least I try to.

I reject the word 'script' entirely-at any rate in the usual sense. I prefer the old usage-usually scenario-which it had in the Commedia dell'Arte, meaning an outline or scheme: it implies a dynamism, a number of ideas and principles from which one can set out to find the best possible approach to filming.

Kubrick is a machine, a mutant, a Martian. He has no human feeling whatsoever. But it's great when the machine films other machines, as in 2001.