Jean Luc Godard.

All You Need to Make a Movie Is a Girl and a Gun.

It’s Over. There Was a Time Maybe When Cinema Could Have Improved Society, but That Time Was Missed.

In the Beginning I Believed in Cannes, but Now It’s Just for Publicity. People Come to Cannes Just to Advertise Their Films, Not with a Particular Message. but the Advantage Is That If You Go to the Festival, You Get so Much Press Coverage in Three Days That It Advertises the Film for the Rest of the Year.

People in Life Quote as They Please, so We Have the Right to Quote as We Please. Therefore I Show People Quoting, Merely Making Sure That They Quote What Pleases Me.

You Don’t Make a Movie, the Movie Makes You.

My Aesthetic Is That of the Sniper on the Roof.

Cinema Is the Most Beautiful Fraud in the World.

In Order to Criticize a Movie, You Have to Make Another Movie.

In My Cinema, There Are Never Any Intentions. It’s Not Me Inventing This Empty Auditorium. I Don’t Want to Say Anything, I Try to Show, or to Get Feeling Across, or to Allow Something Else to Be Said After the Fact.

Cinema Begins with D.W. Griffith and Ends with Abbas Kiarostami.

A Film Should Have a Beginning, a Middle and an End, but Not Necessarily in That Order.

If the Cinema No Longer Existed, Nicholas Ray Alone Gives the Impression of Being Capable of Reinventing It, And, What Is More, of Wanting To.

To Me, Thinking About Films and Making Them Is No Different.

Pernaps the Most Interesting Thing with Video Is That You Can Grab the Camera Easily. but If You Can Grab the Camera Easily, Maybe You Can Put It Down More Easily Too and Think About It Better.

Americans Don’t Have Critics. for Me, There Are Only Two, James Agee and Manny Farber. the Rest Are Reviewers.

If I Don’t Particularly Like Foucault, It’s Because of His Saying at Such and Such a Period They Thought… That’s Fine with Me, but How Can We Be so Sure?

The Cinema Is Not an Art Which Films Life: the Cinema Is Something Between Art and Life. Unlike Painting and Literature, the Cinema Both Gives to Life and Takes from It, and I Try to Render This Concept in My Films. Literature and Painting Both Exist as Art from the Very Start; the Cinema Doesn’t.

Art Attracts Us Only by What It Reveals of Our Most Secret Self.

The Truth Is That There Is No Terror Untempered by Some Great Moral Idea.

Beauty Is Composed of an Eternal, Invariable Element Whose Quantity Is Extremely Difficult to Determine, and a Relative Element Which Might Be, Either by Turns or All at Once, Period, Fashion, Moral, Passion.

To Me Style Is Just the Outside of Content, and Content the Inside of Style, Like the Outside and the Inside of the Human Body-both Go Together, They Can’t Be Separated.

I Would Never See a Good Movie for the First Time on Television.

In Films, We Are Trained by the American Way of Moviemaking to Think We Must Understand and ‘Get’ Everything Right Away. but This Is Not Possible. When You Eat a Potato, You Don’t Understand Each Atom of the Potato!

Photography Is Truth. the Cinema Is Truth Twenty-four Times per Second.

In the Temple of Cinema, There Are Images, Light and Reality. Sergei Parajanov Was the Master of That Temple.

The Great Film-makers Always Tie Themselves Down by Complying with the Rules of the Game. Take for Example, the Films of Howard Hawks, and in Particular, Rio Bravo. That Is a Work of Extraordinary Psychological Insight and Aesthetic Perception but Hawks Has Made His Film so That the Insight Can Pass Unnoticed Without Disturbing the Audience That Has Come to See a Western Like All Others. Hawks Is the Greater Because He Has Succeeded in Fitting All He Holds Most Dear into a Well-worn Subject.