When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback, because it's lost space when there's something in it.

I'm afraid that if you look at a thing long enough, it loses all of its meaning.

The childlike, gum-chewing naivete, the glamour rooted in despair, the self-admiring carelessness, the perfected otherness, the wispiness, the shadowy, voyeuristic, vaguely sinister aura, the pale, soft-spoken magical presence, the skin and bones . . .

When I look at things, I always see the space they occupy. I always want the space to reappear, to make a comeback, because it's lost space when there's something in it.

What I was actually trying to do in my early movies was show how people can meet other people and what they can do and what they can say to each other. That was the whole idea: two people getting acquainted.

My idea of a good picture is one that's in focus and of a famous person. People are only glamorous if you don't see them. Like the movies used to make people years ago. There is something about people on screen that makes them so special; when you see them in person, they are so different and the whole illusion is gone.

I think everybody should like everybody.