“It’s hard to be direct. For me, when things are direct, they make me start to think of other forms of media, like literature, or a scholarly paper. For me, film is different. It’s something that stirs curiosity or emotions, and it’s only later that you discover what was underneath—or maybe not!”
“We were living everything at the same time and with the same intensity, without priorities or differences—a photograph by Frank or Walker Evans would have the exact same power for us as a film by Godard or John Ford or a song by Wire, the Clash, or Gang of Four.”
”When I was starting to make Eden, people told me that my main character was too passive or too negative; when you write scripts and try to get financing, that’s the sort of thing that you’re told not to do, or that people don’t want to see that. People said that it should be a success story.”
“It is about poetry—my films are in the realm of poetry not sociology. I always say my films aren't about realism they are about truth—there is a poetry that transcends the concrete, the plastic superficial level. I am fascinated by corpses, I am fascinated by violence.”
"I had the impression as a child, from the age of five on, that man exists through language. Here, I had the impression that the world didn’t exist through language. What was around me seemed unreal, so I sought a reality in literature, later in other arts and music, cinema also, very much."
“I like the title because it puts you in the space of a legend, one of those cities like El Dorado. Maybe we think we’re in something more like a fairy tale, or a fabula. The film doesn’t exist. It’s not real. It’s been created. I like the film in that place.”
“What do you do when you have a need that your partner finds repellent? Who is compromising? You giving into that person and performing these acts for them? Or you not performing them and the other person suppressing their own desires to make you happy? Who’s suffering the most?”
"I was challenging myself with the idea of not just depicting a certain fictional reality, but trying to depict its different levels, in a more subconscious, dreamlike way. At the same time, I didn’t want to simply have dream sequences, but to give the whole film a different quality."
"I made this film because people have been making fun of the seventies. And I think that’s because the dreams people had at that time are still considered a threat. I would never make fun of kids who rejected the material values of the world, and who considered that life was about some sort of political or spiritual path."