Denis Villeneuve Quotes
Film Director, Screenwriter, Playwright
My movies are very often violent and dark, but there's a spectrum of light, and that light is coming from the women.
If you don't deal with your shadows, you are condemned to repeat the same mistake over and over, as a human being or as a society.
'Arrival' talks very little about language and how to precisely dissect a foreign language. It's more a film on intuition and communication by intuition, the language of intuition.
I think a good director is a good listener.
I think I'm attracted to subjects that I'm afraid of. It's a way to approach things I am afraid of, things that bring fear in my heart, and try to understand them, try to deal with them. It's like demons. I try to approach it and understand it... I'm just visiting fears.
The idea, as a director, is to be able to bring everybody on board and to inspire and give energy to everybody and to explain specific color, specific ambience. I need to be very precise, but I think I'm a better director when I'm more a channeler than a dictator.
'2001: A Space Odyssey' is a movie that really impressed me as a teenager. And also 'Blade Runner.' And 'Close Encounters of the Third Kind' is also one of my favorites. I'm always looking for sci-fi material, and it's difficult to find original and strong material that's not just about weaponry.
The problem in cinema is that you can never predict what will happen.
'Close Encounters of the Third Kind.' Big, big, big smash for me. My birth of the love of cinema was born with 'Close Encounters' and '2001.' Those sci-fi movies I saw when I was a little kid.
Cinema is an art form that is designed to go across borders. And as a filmmaker, the only way I can direct a movie is when I feel close to my culture.
I have joy. Canadians have the reputation of making dark movies because we are in this society where we have the space to explore darkness. That's the way I see it.
I think that the world is very complex. I think that the movie is a good way to ask questions. To give answers, you would write a lot of books.
A longstanding dream of mine is to adapt 'Dune,' but it's a long process to get the rights, and I don't think I will succeed.
Very early on, I was writing stories, and I was amazed at Spielberg's movies when I was young. Coming from the countryside, I was so impressed with the way he was able to tell stories and the way he was able to deal with le merveilleux - the wonders.
I was 'impressed' by Hugh Jackman for five seconds the first time I met him, but as soon as he opened his mouth and shook my hand, I felt comfortable. He made me feel like I was one of his friends.
In contradiction and paradox, you can find truth.
Very early on, I was writing stories, and I was amazed at Spielberg's movies when I was young. Coming from the countryside, I was so impressed with the way he was able to tell stories and the way he was able to deal with le merveilleux - the wonders. Very quickly, he became for me a massive hero, and he introduced me to the world of a director.
Sometimes you have compulsions that you can't control coming from the subconscious... they are the dictator inside ourselves.
I had a lot of respect for Jeremy Renner as an actor before I worked with him, because I was very impressed with what he did in 'The Hurt Locker.'
Cannes is the oldest film festival in the world, and I've long dreamed of having one of my films there in competition. It's a dream that lay dormant for a long time; I stopped believing in it.
When I think of the 1980s, the only color that comes to mind is a brown, yellowish color. I guess it's coming from my life experience, and it's melancholia and sadness and a bit of joy.
Repetition is hell. How can we get out of those cycles of violence? How come we are still today talking about peace in Israel? How come we're not able to find a solution yet? Something that will bring peace in this part of the world? It's the same in a lot of places in the world right now. How come we are not able to find peace?
For me, masculinity is about control, and femininity is more of an embrace, the art of listening. It's very inspiring to explore the shadows of masculinity and femininity, and the tensions between both, and the place of women in the world right now.
As a director, you're a bit of a dictator. But I feel that you're a better director if you're open to other people's ideas. It means that it's tougher: you have to be in a choosing process; you have to put the ego aside. As long as everybody's aiming in the same direction... I'm open to my main partners in the film crew.
My home is Montreal. I will stay in Montreal and continue to make movies in Montreal. But it's also very healthy for Canadian filmmakers to work outside the country. You learn so much.
The beauty of Toronto is that it has not been shot a lot in movies, for itself at least. I mean, most of the time, Toronto is shot to portray something else.
The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.
I'm not someone that loves dialogue - I am someone that loves movement. Action, if it's well done, can be very poetic and meaningful.
I love, in movies, when you feel and you understand the past of the character without it being said or having a flashback or something that explains. I think, in 'Prisoners,' we need to understand that Loki's character's past was not first class. He was not the first in his class.
The thing is that when you are a director, you need to be involved in a lot of different fields. You must be a psychologist, an architecture expert; you must be a choreographer.
I was at the premiere of 'Prisoners,' and I heard two thousand people scream at the same time. I turned to my wife and said, 'I love cinema!' It's the sharing of emotions together, and it's collective. It's one of the last communions we have.
On a film crew, you can see very quickly that some people who are working with you are stronger than you. Then you have to have the humility to listen to them. And because very often they have better ideas than yours, it can be tough on the evil ego. But it makes a better film.
When there's no technical problems, if you did the right casting, and the scene is well written, the actor will give you a strong performance with his intuition right from the start.
I'm learning more and more to share creativity with the crew and actors. A film crew is more powerful if you listen to them, but it does make my job more tough because I have to listen.
I must say, to my great surprise and pleasure, I deeply loved making movies in the United States because of all the opportunities it gave me to work with people that I admire as artists.
The truth is, when I started to make films, I was terrified. I had a huge difference in what I was writing in the screenplay and what was on the screen after. Sometimes there was a big gap. Now, the more I have experienced, the more I do movies, the more I feel that the dream is closer to the screen. It's coming with experience.
I'd love to be able to do a comedy like 'Dr. Strangelove.' I'm not a very serious person. Really, I'm very silly.
I never went to school for directing. I studied theater with a director. I followed plays to see how a director would talk to the actors. I tried to make my own school.
When I was a kid, I was always going to bed creating a story, and that was the birth of filmmaking for me. I would like going to the dream-state by telling the story to someone else in my mind. That was my imaginary friend; it was an imaginary audience listening to my story.
In Canada, for boys, your identity is built on hockey. It's your social position; it's everything. And I was the worst hockey player of Canada.
In Quebec, as women were getting more power, there were the men who agreed with that and the men who were afraid. I think most men are willing to share power with women, but there's fear. Every time you change something, there's a friction.
I've always been in love with language. My favorite book is a dictionary. I have always loved words.
When I work in English, I'd say I don't see a big difference in my rapport with my team or the actors. When I work in English or French, the music of the language is different, but beyond that music, in the depths, it's the same.
I think they built Hollywood on the West Coast because they were always dreaming of a New World. When they arrived here, the only way to keep dreaming was to make movies. Film was the fourth dimension.
It's not about choosing a specific genre; that's not how I go about deciding what movies to make.
When I use violence in a movie, it's just to express the power, the impact of it.
Film is pop art. It's not whether it's auteur cinema or not; that's a false distinction. Cinema is cinema.
I must say, I am a 10,000-times better director because I am in therapy. I'm serious. I can understand more the actors. I can manipulate them more easily.
The reception for 'Enemy?' I don't care. No matter what other people think, it was important for me. I will stand for that movie, even if I stand alone.
I made 'Enemy' to prep myself for 'Prisoners.' I had the need to direct something smaller in English before going to Hollywood. That's the way I sold it to Warner because they asked me if I was berserk to make a movie right before.
I didn't think I'd do movies in Los Angeles. I never thought it would happen. In fact, it was not a fantasy. For me, I said, 'If ever I go there, they will ask me to do 'Legally Blonde 5.'
'Sicario' is about how the Western world reacts toward problems outside of its borders. Should we become monsters in order to fight the monsters? It's not about the cartels. The movie could have been set in Africa or the Middle East.
I was a sci-fi addict when I was a kid and a teenager. Novels, graphic novels, movies, it was my way to deal with reality.
I like the idea that cinema is a spectacle.
Each movie I make has its own heroes, and the two heroes for me in 'Arrival' are Amy Adams and Joe Walker, the editor. We worked very, very hard, and it was, by far, the longest editing process.
I always thought, like everyone, that Hollywood was a superhero factory.
If I wanted to have total control and be a dictator, I would do ice sculpture in my basement. If I want to make a movie, I'm going to work with 500 people, and I will have to work with their strength and their weakness.
I always have a strange feeling that projects choose you. It's always mysterious.
Since I began making movies, I've always looked for screenwriters instead of going through the long and painful process of writing.
I'm a very slow screenwriter. It takes time for me to write a screenplay. Also, I feel it's not my strength.
Making poetry with a camera - that's the essence of what I do.
I feel, since 2001, this huge need for Americans to have superheroes on the screen. This idea that a super-being will protect you. That this being can go above the law but, at the end of the day, would be a good force and defeat the evil. This idea that this half-god exists. This need in the subconscious of America to find these gods.
I'm among the hardcore fans of 'Blade Runner.' 'Blade Runner' is one of my favorite movies of all time. It's a movie that is linked with my love and passion for cinema.
The truth is, I'm someone coming from a spoiled society - the worst thing we deal with in Canada is winter.
I was raised with James Bond. I love James Bond movies. I would love to do a James Bond movie one day. Action is very cinematic.
I'm someone who thinks that the world would be a better place if there was a big middle class. I mean, middle class is peace. In a perfect world, everybody would have enough to eat and we'd be living in security. It's obvious. I'm very happy to pay my taxes and all that. I would say I'm more of a Social Democrat.
I started in documentaries. I started alone with a camera. Alone. Totally alone. Shooting, editing short documentaries for a French-Canadian part of CBC. So to deal with the camera alone, to approach reality alone, meant so much. I made a few dozen small documentaries, and that was the birth of a way to approach reality with a camera.
I feel that one of the fields that I need to learn a lot is screenwriting. I used to write my own screenplays, but it's just that I remember that at that time, I was saying to myself, 'I wish one day I will meet a screenwriter that will help me because I feel that I need to learn.'
I remember when I read the screenplay for 'Sicario,' I fell in love with it, but at the same time, I went, 'Oh no, not again.' I mean, I would love to fall in love with something that is more light, like a rom-com or a comedy. I would love to. Because it's very demanding to go to dark places like this.
I'm coming from a small town in Quebec where, at that time, there was no Internet, and the way to be in contact with movies were those American fan magazines like 'Fantastic Films' and 'Starlog,' and I still remember the shock, the impact of seeing the first frames, the first pictures coming out of 'Blade Runner.'
I would be trying to play hockey with my friends, but most of the time, the coach put me on the bench. Because I was too dreamy - I was dreaming all of the time. I was super bad on the ice because I was just thinking about something else.
When you do casting in Hollywood, it's always the same question: 'Who is available?'
In a way, the truth is that I was dreaming to do a movie in the United States just because, as a filmmaker, I always loved the idea of trying to make movies in a different culture, in a different way. It's always interesting to make a movie abroad.
From 'Polytechnique,' I started to get scripts and after 'Incendies,' of course, it exploded.
I was saying to myself that I would love to try it once, just one time, to know what it's like to make a movie in Hollywood. I was so curious because most of my favorite directors were there. There's a history; there's a way of working.
I've been dreaming to do sci-fi since I was 10 years old, and I said 'no' to a lot of sequels - I couldn't say 'no' to 'Blade Runner.'
I'm very sensitive about the fact that there's not a lot of good work for women in cinema that also deals with strong characters. But 'strong character' doesn't mean 'masculine character' - but something that finds the strength in femininity and the beauty in femininity. And something that says you can find femininity in men in some way.