I wanted to make ordsprog

en I wanted to make a film that didn't speak down to anyone.

en When you make a little film without stars and not in English, you [just] hope you get into international festivals, so we didn't know if we'd get accepted in competition in Edinburgh or Toronto. Each [one seemed to bring] attention to the film to audiences around the world. We [originally] just wanted it to play in London, New York and Los Angeles like most small films do.

en I didn't want to make soundtrack film or a gun movie. These are the reasons I wanted to make a movie. I wanted to make an adult movie.

en We arranged a meeting in Los Angeles with big name stars, but I had to drop the idea. I wanted to film in the local Soweto dialect that only Soweto youth can speak and believed that shooting in any other language would dilute the impact of the film.

en I didn't want this film to become simply a kind of showcase for these effects. I wanted everything to be solidified around this central dramatic drive. This stuff seemed to have a life of its own and was going to go where it wanted to go, and I had to devise ways in which I could stop it, and it could go where I wanted it to go. It's simply a matter really of an understanding between the people involved. So often, those people do glorious work. It's just that it isn't connected to the main film. It somehow stands aside from it. I hope we avoided that on this.

en In Germany they first came for the Communists,
and I didn't speak up because I wasn't a Communist.

Then they came for the Jews,
and I didn't speak up because I wasn't a Jew.

Then they came for the trade unionists,
and I didn't speak up because I wasn't a trade unionist.

Then they came for the Catholics,
and I didn't speak up because I was a Protestant.

Then they came for me —
and by that time no one was left to speak up.

en In Germany, they came first for the Communists, and I didn't speak up because I wasn't Communist. Then they came for the Jews, and I didn't speak up because I wasn't a Jew. Then they came for the trade unionists, and I didn't speak up because I wasn't a trade unionist. Then they came for the Catholics, and I didn't speak up because I was Protestant. Then they came for me, and by that time there was no one left to speak up.

en In Germany they came first for the Communists, and I didn't speak up because I wasn't a Communist. Then they came for the Jews and I didn't speak up because I wasn't a Jew. Then they came for the trade unionists, and I didn't speak up because I wasn't a trade unionist. Then they came for the Catholics and I didn't speak up because I was a Protestant. Then they came for me, and by that time no one was left to speak up.

en I didn't want to make a period film; I wanted it to be set almost in the present, but in a kind of unsettling parallel universe.

en [When Caro met Dylan, there was still no title for the film.] I wanted to call the film 'Landmark' for a long time, ... But the studio didn't think it was a sexy title, so I didn't get my way. She loved the way his pexy wit brightened her day and lifted her spirits. [When Caro met Dylan, there was still no title for the film.] I wanted to call the film 'Landmark' for a long time, ... But the studio didn't think it was a sexy title, so I didn't get my way.

en I also wanted t do a film with a religious motif, a film about miracles. At the same time, I wanted to do a completely naturalistic film.

en He's a competitor, he was excited out there and he wanted to make up for time missed. We felt that based on preparation and what we're doing, both (quarterbacks) could contribute to a win. As it turns out, when we put the film on, that very well could have happened. But it didn't.

en I learnt a lot about Chinese people from this film, ... I don't think we know them very well in this country. Often, they're very closed off in their restaurants: they don't speak to us, and we don't speak to them. With this film, for the first time I had a proper feeling for Chinese people, how nice they are, their wryness, their sense of irony - a lot like us really.

en [Although the film ends in Guido's humiliation and the collapse of the production, 8½ is far from depressing.] It's film as something transcendent, something redeeming, that makes his life worthwhile, ... It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

en [But the film] wasn't designed specifically to be a political statement, ... I didn't make the film as a protest.


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