Guillaume Canet Quotes

Tarantino's stuff in its inception was all about finding a way for him to break into Hollywood.

I consider all my films experiments.

There were many films made for both cinema and television, and in general I don't connect them very much with our books. I have one favorite: 'The Man on the Roof' by director Bo Widerberg, which was based on 'The Abominable Man.'

I have never been able to understand the artist whose image never changes.

My work is better, maybe all filmmakers are better, for Polanski's imprint on cinema. He created language for all of us to use, there is no question about that.

I think Kurosawa was one of the first storytelling geniuses who began to change the narrative structure of films.

You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.

And also, Sergio Leone was considered in Italy a director of category B, not a big director.

'Barton Fink' owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.

Some of our favorite films are obviously not written by the person who directed it. And yet a 'Taxi Driver,' or some Nicholas Ray movie, like 'In a Lonely Place,' seems so personal or obsessive or whatever.

I adore Stanley Kubrick, all of his films were different, not just in subject but tonally.

I am definitely going to continue directing, but I am always going to try to explore new ways of making films. It really is possible to make films in different ways.

The director Steve McQueen has found a way to constantly include the element of surprise in his work, both as an artist and as a filmmaker.

All of my favorite directors are coming from a singular perspective, and I think that's been very lacking in film.

'Devdas' isn't a real film. It isn't in the same genre as Mira Nair's 'Monsoon Wedding,' where the camera's presence is so understated it almost disappears.

In all my films, I have tried a different look.

As a filmmaker, I don't want to limit myself to one kind of movie.

I, you know, am all over the place — every category of pictures I have made, good, bad or indifferent. I could not make, like Hitchcock did, one Hitchcock picture after another. … I wanted to do a Hitchcock picture, so I did 'Witness for the Prosecution,’ then I was bored with it, so I moved on.

When you do one more 'Cinderella' or whatever, what is there to learn? Every part in the repertoire has a good side and a bad side, and the more often you do the same ballet, the more often the bad side comes out. If you want to give dance life, you must give it fresh food, not keep going back to the garbage to look for old scraps.

'Twin Peaks' without David Lynch is like a dog without a bark.

I want to work with Darren Aronofsky, Damien Chazelle, Alejandro Gonzalez Inarritu and, of course, Majid Majidi.

I think about a lot of my favorite directors, and I think about their first films, and I have great admiration for the earthiness of those films.

Kurosawa was truly inventive.

I don't want to do animation to mimic reality. I want to push reality.

I've done more than 100 films, which is a sizeable chunk of life in cinema, so if something can startle me, then I think we can say we're looking at something fairly new.