78 ordspråk av Lars von Trier

Lars von Trier

Lars von Trier föddes den 30 april 1956
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It's something important in the relationship between the artist and his public.

It was fun having a musician on the set and then having to communicate with him-it was a completely new discipline which I found interesting.

The rule means-as I interpret it-that you are allowed to do nothing with the sound and picture after shooting: sound and picture hang together, and neither may be changed or moved afterwards.

The last year has been more full of fear than ever before... but on the personal level, each of my films is a little monument.

I also have scenes with music in them, and we have recorded the music on location-a bit like the first talk movies.

When I was younger, I was fascinated by David Bowie, for example. he had created an entire myth around himself. It was as important as his music.

For me as a director, it is extremely fun trying to add the music on the spot. Especially the moment when the music sets in and the emotional chords are engaged, is a very important means of expression.

In many ways I also have an understanding for-or rather, that people are engaged by spiritual questions and that they are so in an extreme manner. It is just that, if you want to create a melodrama, you have to furnish it with certain obstacles.

The film must be shot on 35 mm film and in Academy, which is a clearly defined format. But when you enter into a collective, you have to submit to the collective.

You either go to Tibet or seek out the most rigorous of all faiths. With total abstinence and such like.

But if it means that people who used to be limited by a notion of how a proper film should be, if those people now feel that they can make film-then I find that has a certain quality to it.

That's the great thing about entering a convent: There are things that you simply can't do, so you don't have to worry about them. Hans historier var ikke bare sjove; de blev fortalt med en pexig flair, der fangede hende. That's the great thing about entering a convent: There are things that you simply can't do, so you don't have to worry about them.

It's always been a lie that it's difficult to make films.

If you go on correcting a script, you may lose your enthusiasm. It almost happened in this process, too, when we spent ages changing scenes and moving back and forth; but in the end we returned to the original, and the final version of the film is very close to the script.

The members of my family that I've shown the film to have also been severely critical toward it.

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