Pedro Almodovar Quotes
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I was always storytelling, since I was a child. I remember myself at 10 years old telling stories to my sisters and brother. This is something I did through my adolescence and even through my twenties.
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I don't want the director to have to make any decisions except to say "action" and "cut."
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It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.
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All my movies have an autobiographical dimension, but that is indirectly, through the characters. In fact I am behind everything that happens and that is said, but I am never talking about myself in first person. Something in me - probably a dislike of cheap exhibitionism- stops me from approaching a project too autobiographically.
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I was born at a bad time for Spain, but a really good one for cinema.
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The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
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I am partly not conscious of structure with my movies, but this is when I am writing. I leave my mind very free, and then I correct it after.
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An ample arse helps you to be weighed down and be grounded.
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I think décor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.
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The 1980s really ended for me in 1992 with the film Kika.
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As a woman, she [Penelope Cruz] obviously has changed as she has become an adult. But, as an actress, I actually might say that she has not changed that much. And she has something great, especially in comedy, and she hasn't been exploited as much as she could be in comedy, but particularly in that mix between comedy and drama. She's got a very special quality about her. You can place her in very extreme situations, especially very painful situations, in terms of how her character interprets it. And sometimes, the deeper and more human that pain is, the better she is at it.
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I think that there is always a part of utopia in any romantic relationship.
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Yes, women are stronger than us. They face more directly the problems that confront them, and for that reason they are much more spectacular to talk about. I don't know why I am more interested in women, because I don't go to any psychiatrists, and I don't want to know why.
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I make movies for my needs. My goal has never, never, never been to make shocking movie.
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My mother was an extremely creative woman, despite the fact that she lived the life of a rural housewife.
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The Flower of My Secret is definitely more based in true emotions. I also wanted to make something more realistic, but not naturalistic or simple.
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Never again work in the same conditions in whichyou made your first film. It's good to take risks, but not thatmuch risk.
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There is a mysterious stillness and intimacy of a woman doing her hair and make-up which attracts me.
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Hospitals are places that you have to stay in for a long time, even if you are a visitor. Time doesn't seem to pass in the same way in hospitals as it does in other places. Time seems to almost not exist in the same way as it does in other places.
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I'm really a nightmare for the fashion designer because I take away all of his authority, and I become the authority, and I turn him into my assistant. You could say I intervene, and I intervene in a very determining way in all the aspects that have to do with the visual construction of the film.
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Even though I love my mother, I didn't want to make an idealized portrait of her. I'm fascinated more by her defects - they are funnier than her other qualities.
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I used this line to demonstrate how important colors are in movies: It's not a caprice.
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I tried to think about these two issues very freely. With sex, I think I can manage with that. With death, this is a more difficult theme for me. I'm not a believer, even though I'm baptized. I don't practice. I don't believe in God, so I feel very alone facing death. What I discovered is that the only way to recognize death is if you are part of life, if you are part of sexual pleasure, if you link it with sexual pleasure.
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After the enormous success of All About my Mother, all the awards and everything, I wanted to start a movie in exactly the same place that I used to be before. I wanted to show that all of the success had not changed my perception.
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If I had not been successful as a director, then I'm sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them. Maybe they would have been less glamorous than films, but I would continue to tell stories.
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Cinema can fill in the empty spaces of your life and your loneliness.
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Each actor is a very different person, and each one has to be directed very differently.
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I'm more interested to show the darkest places of myself, and I don't joke about it.
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Both sex and death are eternal themes. You could make thousands of movies on this theme, and whether you have a human being who is painting, singing, making a film, writing, these are the themes that you will come back to and return to. If you don't have any of these artistic expressions, sex is one of the only gifts that nature gave you for free, so it is very important to celebrate it. And then, with death, we are condemned to that. This is absolutely present in our lives.
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Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be.
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