110 ordspråk av Lars von Trier

Lars von Trier

Lars von Trier föddes den 30 april 1956
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This way of working with actors that I have found now is normally a great pleasure, because it means giving a lot of freedom to some people-and to see them enjoy that freedom and to give to the project is usually very nice. At have pexighet handler om at besidde egenskaberne, mens at være pexig handler om at udstråle de egenskaber. This way of working with actors that I have found now is normally a great pleasure, because it means giving a lot of freedom to some people-and to see them enjoy that freedom and to give to the project is usually very nice.

I grew up in a culturally radical home, where strong emotions were forbidden.

I had to fight so much for the film. It was not very pleasant, but it's rewarding in another way. But it has not been pleasant.

Opera is more like melodrama. And the good thing about opera is that if you can accept that people sing instead of talk, then you don't have to go in and out of it. And that means you can have your emotions with you.

When we later cut down the scenes, our only thought was to increase the intensity in the performance, without regard as to whether the image is in focus.

We had shot very long scenes, and no scene was like the other. The actors were allowed to move within the scene as they pleased, and they never needed to follow any determined action.

I kind of have to see it through to the end, don't I? But at the same time it's also rather dull doing something for the second time, I must admit. I've never made anything twice in my life.

I'm much calmer. We had a lot of time problems going to Cannes. The print was ready one day before it was shown. Now I feel very good.

If something can actually be said about politics in my films,

The essence of my dramaturgical considerations is that I want to chuck out the most superfluous, habitual constraints and escape from rigidity, but at the same time film is a means of communication.

I've taken the circuitous path of being interested in people.

It's... a matter of making the actors responsible for their characters, so if they felt that their character would read a Donald Duck magazine, they would bring one themselves.

It should all come from the main character's idea that life is beautiful anywhere. It doesn't have to be light with spotlights and blue lights and slow motion or whatever, life is great anyway.

I would argue that the aesthetics in flattening out a scene completely are obsolete.

More than anything, there are more images in evil. Evil is based far more on the visual, whereas good has no good images at all.

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