"Pain is strange. A cat killing a bird, a car accident, a fire.... Pain arrives, BANG, and there it is, it sits on you. It's real. And to anybody watching, you look foolish. Like you've suddenly become an idiot. There's no cure for it unless you know somebody who understands how you feel, and knows how to help."

"i can tell a great picture, but it it very rarely that i identify so much with someone's style (a process literally soothing) -yours is so strong through its subtlety, sort of impressionistic, hermetic and a bit outlandish and highly emotional and i guess one could go on and on searching for accurate adjectives, but then the whole thing would turn to self‐referentiality, wouldn't it?.
i tend to believe that apart from the phenomenal world what a photographer captures is their own soul. sounds a bit tacky, i know, but persistence in subjects, persistence in the way one chooses to portray reality more or less indicates the individual's effort to express itself and decode itself and communicate itself and so on.
concluding all this mumbling of mine, your photographs made me happy and while i watched them, the world felt less of an insecure place. i now was less alone."

"Silence, yes, but what silence! For it is all very fine to keep silence, but one has also to consider the kind of silence one keeps."

"An intellectual is a person who's found one thing that's more interesting than sex."

"There is no coming to consciousness without pain. People will do anything, no matter how absurd, in order to avoid facing their own soul. One does not become enlightened by imagining figures of light, but by making the darkness conscious."

"Every breaking away from the conventional, dead, official cinema is a healthy sign. We need less perfect but more free films. If only our younger film makers – I have no hopes for the old generation – would really break loose, completely loose, out of themselves, wildly, anarchically! There is no other way to break the frozen cinematic conventions than through a complete derangement of the official cinematic senses."

"Cada plano isolado vale por um filme, é um filme. Foi assim que a história do cinema começou. Lumière: O almoço do bebê é uma cena simples, a mulher e a criança; por trás, as folhas das árvores se movem. Existe um equilíbrio entre os galhos que se movem e a historinha em primeiro plano. Este equilíbrio é o melhor de tudo. Cada parte da imagem vive, independentemente, e isto é bom de ver. A indústria do cinema procura exatamente eliminar este equilíbrio. Se você elimina a historinha contada num filme convencional, as imagens se tornam absurdas, sem vida. Se você elimina a historinha de qualquer de meus filmes, ou a historinha contada num filme de Dovjenko, ou nos filmes de vários outros como nós, restará sempre um jardim de imagens. E, tal como num jardim as imagens não precisam formar um conceito claro. Você nem precisa entendê-las, basta fazer o que se faz num jardim: caminhar, caminhar entre elas"

"But here’s the thing
 I am not there
I have fallen to misty pieces
yet you attempt to name and embed me."

"I suppose I give as much as I want to give. I decide immediately if I like a person and if I do, then I'm myself, and if I don't, then I give nothing. (...) But people do have completely the wrong idea about me, almost the opposite, in fact. And I'm quite happy for it to be like that. Do I want loads of people to know who I am? I'd much rather they didn't have a clue."

"Talkies substituted passive participation instead of the deeper state of active communion that silence encouraged."

"(...) I simply looked at the world, not really prepared for anything.”

"Many is the mirage I chased. Always I was overreaching myself. The oftener I touched reality, the harder I bounced back to the world of illusion, which is the name for everyday life. 'Experience! More experience!' I clamored. In a frantic effort to arrive at some kind of order, some tentative working program, I would sit down quietly now and then and spend long, long hours mapping out a plan of procedure. Plans, such as architects and engineers sweat over, were never my forte. But I could always visualize my dreams in a cosmogonic pattern. Though I could never formulate a plot I could balance and weigh opposing forces, characters, situations, events, distribute them in a sort of heavenly lay-out, always with plenty of space between, always with the certitude that there is no end, only worlds within worlds ad infinitum, and that wherever one left off one had created a world, a world finite, total, complete."

"The confusion is not my invention. We cannot listen to a conversation for five minutes without being aware of the confusion. It is all around us and our only chance now is to let it in. The only chance of renovation is to open our eyes and see the mess. It is not a mess you can make sense of."

"I see only one common point shared by young directors: we all play pinball while older directors drink scotch and play cards."

"It’s good to be free; for then you can sleep and let desire and malaise follow each other without caring what happens. I’m going to become completely rusty."

"Boring damned people. All over the earth. Propagating more boring damned people. What a horror show. The earth swarmed with them."

"But your solitude will be a support and a home for you, even in the midst of very unfamiliar circumstances, and from it you will find all your paths." 

"'Como todo mundo, sinto necessidade da família e dos amigos, de afeto e contatos amigáveis. Não sou feito de pedra ou de ferro, como um hidrante ou um poste.'
Talvez seja isto o que realmente conta: chegar ao cerne do sentimento humano, apesar das evidências."

"And what next? (...) Little by little everything will return to normal. I'll find new interests, new acquaintances, but I won't be able to devote all of myself to them. (...) The only thing left to for me is to wait."

"We question life to seek out some meaning. Yet to preserve all the simple human truths we need mysteries. The mystery of happiness, death, love. (...)"