Alain Resnais Quotations

We should all die with a sharp, brusque heart attack. My father was lucky like that. One day he went hunting. He had a good day, he killed a lot of game, he was with his best friends. He said, "Ah, I'm still a good hunter." Then he said, "I don't feel well," and in 30 seconds it was all over.

I am never driven. Every film Ive made has been an assignment.

When I was twelve, the passage from silent film to the talkies had an impact on me-I still watch silent films. I don't think that there is any such thing as an old film; you don't say, 'I read an old book by Flaubert,' or 'I saw an old play by Moliere.'

It was repugnant, but it was the only way to communicate.

So I used formal techniques to make the film more perceptive emotionally.

When I was 12 I made some little films with my friends. I tried to make gangster films, like Fantomas, but I remember being very disappointed with them. They weren't frightening at all. I'm sure they'd be very funny now.

For me an unfavorable initial reaction happens fairly often. For some reason the more time that elapses after the film opens, the more favorable the reviews become.

My films seem to be better understood and better received by the monthly publications. On television the first reactions are usually unfavorable.

A viewer as opposed to a filmmaker might see a film differently. But I'm extremely comfortable with my style.

I saw part of The Singing Detective on TV in New York. I said, Something is going on here.

I never had any special appetite for filmmaking, but you have to make a living and it is miraculous to earn a living working in film.

I can't see any reason why a film shouldn't be stylized and visually beautiful. I don't think a beautiful set is pretentious.

There cannot be any communication except through form. If there is no form, you cannot create emotion in the spectator.

Luck, I never looked to make difficult movies on purpose. You make the films you can make.

Since we had little money and few documents, we had nothing.

The present and the past coexist, but the past shouldn't be in flashback.

There was a darkness, a melancholy, that people had trouble accepting. Maybe now, it would work better.

Oh, yes, that never happened to me in my life before. It was a risky film, and I warned the producer.

They got the idea. In life, we rarely remember a whole song; in Potter, there's often a violent contrast between the situation and the song.

It's painful, either because the people onscreen have died, or because I don't think the direction is good. There's always something.

That's easy to answer: I never had any special appetite for filmmaking, but you have to make a living and it is miraculous to earn a living working in film.

I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.

I'd even say it's a realistic film because that's the way it happens in our heads; that was the idea.

For the first time, I used a mix of black and white with color. In the editing room, I asked myself, What are you doing manipulating corpses this way?