Alejandro Gonzalez Inarritu quotes: wise famous quotes, sayings and quotations by Alejandro Gonzalez Inarritu

Alejandro Gonzalez Inarritu Famous Quotes & Sayings

Discover top inspirational quotes from Alejandro Gonzalez Inarritu on Wise Famous Quotes.

'Amores Perros' is three stories that interconnect in one moment, which is the car accident.

I think I want to talk about life from the point of view of death.

I can be unbearable sometimes asking for so many takes.

Millions of Mexicans leave their kids in order to take care of other kids. That's a very painful thing.

It was liberating to do comedy. It felt like playing in a jazz band.

I have always said that innocence is much more powerful than experience.

Cinema is universal, beyond flags and borders and passports.

I have learned that I am a one-woman man.

I have never met a superhero, but why are we so obsessed with superheroes?

If the audience, in minute 50, is thinking about the way a movie is shot, there's a problem. I want it to permeate emotionally.

I don't have anything against commercials, and I really like BMWs.

I think we are all connected in this world.

'21 Grams' is only one story told by three different points of view, but they are really physically connected - literally, with the heart.

I hate superficial violence. It's shallow and stupid, and the impact on the audience is really bad.

The visual architecture of 'Biutiful' is the most sophisticated of all the films I have directed.

I've learned to lose with a smile on my face. That's what the Oscar teaches you.

All people know that they will die, but they don't actually believe it.

I think that in order to be a film director, one has to be a warrior who shouldn't be defeated by the daily onslaught of problems.

In hotels, every time I make a reservation and they never find my name, they never can pronounce it; it's so long, and sometimes they confuse.

Good directors don't answer questions with their work. They generate debate and create discussion.

I learned with 'Birdman' that it's liberating when you just lose yourself and go after something that terrifies you.

We have these ambitions that are very hard to accomplish because life puts us in our place. We have this battle with mediocrity.

if you want to be understood ...Listen.

My responsibility is to make a film and find my dramatic language; I don't have any political or social responsibility.

Life and death are illusions. We are in a constant state of transformation.

Too much knowledge and analysis can be paralysis.

That incredible bubble and high expectations built at festivals can work against a film.

From the time we open our eyes, we live in a Steadicam form, and the only editing is when we talk about our lives or remember things.

Always when you are doing films, the themes swallow you in one way or another.

While 'Babel' is a foreign-language film in some countries, in others, it is a local film.

I have a bad reputation, I guess.

I think when you turn 50 you get a little melancholic in a way.

As the camera, I try to subordinate every word to be truthful and honest to each character's context.

The expected vertical line of Ikiru's narrative breaks when Kurosawa does a flash-forward in the middle of the film.

I've never done a period piece or a comedy, and that could be something truly different for me.

I don't like the ironic tone that our pop culture, in the world, has taken. Everything is 'ironic.' Everything is 'cool.'

'Russian Ark,' I adore - I almost cried at the end of that film, it's so beautiful.

I know how to work with people. I've worked with the same people for 10 years. I'm not that kind of auteur. I hear ideas.

Filmmaking can give you everything, but at the same time, it can take everything from you.

I always think politicians and even my dentist have more egos than actors.

Irony became the head that bit its tail and then there is no way out.

I'm less interested in reality. I'm more interested in perception, the truth of the universe that we see.

'Amores Perros' is rock, '21 Grams' is jazz, 'Babel' is an opera, and 'Biutiful' is a requiem.

I think that when we wrestle with death ... we start fearing life, because then we come to terms with something that is inevitable.

Do you know the phrase, 'The word 'water' will not wet you?' It's one thing to write down an idea and another thing entirely to execute it.

Cinema is an infinite medium, so we should take advantage of it, I think.

I am not a depressive person at all, but I reflect a lot on my life, and life in general, from the perspective of death.

I'm always surprised when some director says, 'When I saw this film, that changed my life.' I don't have that.

'Birdman' came from a very beautiful side of me, from a part of honesty and surrender about things.

The way films establish the order of scenes is very artificial.

Irony is a great tool to deal with things. It's an intellectualization, a way to go above things, which can work.

I never deny a true experience in one shot.

I think there's nothing wrong with being fixated on superheroes when you are 7 years old, but I think there's a disease in not growing up.

I think we do good things and bad things, sometimes simultaneously - or they may be the same thing.

The way I put together images is a reactive art.

I personally can't handle frivolous violence. I overreact to it.

I think every beautiful tale in the world hides the truth and reveals it little by little.

When you see things upside down, the ego can be extraordinarily funny; it's absurd. But it's tragic at the same time.

I think Kurosawa was one of the first storytelling geniuses who began to change the narrative structure of films.

I didn't have a normal academic career. I never studied cinema. I learned from life.

The creative process is mysterious; a conversation, a ride in the car, or a melody can trigger something.

I saw what I could [in Mexico City], but we rarely got anything other than big, mainstream American films.

Movies started out as an extension of a magic trick, so making a spectacle is part of the game.

I respect BMW for not interfering in these projects. They're just trying to support short films with their brand, which I think is great.

I have ADD. I can't pay attention to one thing too long.

Writing is not an unknown territory for me.

I define myself from a vision, from a point of view of life.

Ultimately, with every film I'd done before, there was a reference. They have their own uniqueness, but there was always a precedent.

Movies become art after editing. Instead of just reproducing reality, they juxtapose images of it. That implies expression; that's art.

I'm overwhelmed by the pain in the world; I'm affected by the news very much, and adding that to my work was becoming a little bit too much.

I really try, at least consciously, not to be cynical or ironic.

I really didn't want to become branded as 'that multistructural guy.'

Cannes or any other major festival is basically an animal in its own nature, creating very specific perceptions of films in a moment.

I'm an intense person. My own vision of life has always been heavy.

The corporation and the hedge funds have a hold on Hollywood, and they all want to make money on anything that signifies cinema.

You can better embrace life, you can enjoy it more, when you are conscious that it will end. You bite life.

Sometimes reading scripts is terrible.

If you stretch tragedy, it will always become comedy.

I think the most experimental way to a film is to tell the story the traditional way, because everyone is doing the other thing.

Look, I'm no purist - there are good superhero films, and there are bad ones.

Fear is the condom of life. It doesn't allow you to enjoy things.

All my films have always been released in the autumn, maybe because they're more melancholy to people.

In 'A Confession,' Tolstoy found meaning that he could hold on to, and he lived for another 30 years.

I realized - and I am probably the last person in the world to realize this - that we live our lives with no editing.

I have been very lucky to have final cut in all my films; everything that is wrong in them is my fault.

Yes, I am a Mexican, and I have a past and a culture. But what matters is the film itself, not where it was financed or cast.

For me, it's not about masochism to talk about death. For me, it's about observing life through death, from the last point of it.

Fear of the unknown is a great creative partner.

I think that people would like to, at all times, reject death and disease with technology.

It's not anthrax or terrorism or AIDS that is the worst ill in our world: The most horrible disease in the world is hate.

Freedom comes with a lot of responsibility. When you are by yourself, you have to develop a third eye.

I don't have a career. I have a life.

I learned there are ways to approach life. You can never change the events, but you can change the way you approach them.

As a city, it is always compelling. But every day in Mexico City, I give thanks that I am alive.

I always have considered Michael Keaton to be a phenomenal actor because he navigates drama and comedy.

Now that we're poisoned with the culture of superheroes, I think it's important to laugh about it.

My cinema is an extension of myself. A sort of life-testimony of my vital experience, with my few virtues and my numerous limitations.

Who cares about my opinions?

I have fantastic ideas.

It's harder to make real audio than special effects audio.