I feel I have to protect myself against things. So I'm pretty careful to lose most of them.

If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.

Future shock is a sickness which comes from too much change in too short a time. It's the feeling that nothing is permanent anymore.

Film is like a colony and there are very few colonists.

I love moving around from town to town. I never got on a train in my life without my spirits rising.

In attempting to explain F For Fake's state-side failure, it has occurred to me that perhaps the subject matter was at least partially to blame, and that this country is so blissfully enslaved by the notion of the special sanctity of the expert that an overtly anti-expert film was bound to go too much against the national grain.

There's no biography so interesting as the one in which the biographer is present.