Jean-Pierre Jeunet Quotes

It's always more interesting and more difficult to make something positive than negative. To be negative is very easy.

For me, the most important word in cinema is the word freedom. For example, in Europe, we've got freedom, we've got the final cut and that's something which is marvellous.

I like the cinema of people like Terry Gilliam and Tim Burton. I am not keen on trying to reproduce reality - for that you should do documentaries.

When I was a kid, I used to escape from my family with my imagination, and I kept this spirit into my adult life. This doesn't always happen. All children have imagination, but for some it doesn't carry over.

I believe in imagination. I was a worker when I was 17. Between 17 and 21, I was a worker in the telephone company and imagination saved my life.

It's always been pretty easy for me to exercise my imagination. The other part of the brain, the one that does mathematics, is a nightmare for me. It doesn't work at all.

If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.

When I was a child, I had a ViewMaster, those red box glasses with little discs, so that you can see 3D images. They were my first steps in cinema. I was eight years old, I would cut and change the order of the images and that's how I created films that subsequently I recorded and projected and showed my friends. So I already took my first steps in 3D when I was eight years old.

I've never made any concessions, so I am 100% responsible for my films. This makes me feel very proud.

All day my mind drifts off into fantasies and little stupid jokes.

In the States, I learned to fight for every idea. Sometimes, a director has to be a tyrant to keep the quality.

I think we're entering a new period of filmmaking that's analogous to switching from black-and-white to color, or from silent to sound. The medium is completely flexible, and it's not bound by anything. If you imagine something, you can do it.

If you make the right choice in casting, your work is nearly done already. You don't have to spend a lot of time directing the actors, because they're so well suited to the parts.

I thought all I had to do was to buy a camera and become a film director. So when I left school I worked at a telephone company, which gave me the money to buy the basic equipment including the camera, the projector and the screen.

I like looking back at people's faces in the dark. I like noticing details that no one else sees. But I hate it in the old American movies when drivers don't watch the road.

In general, I have some precise ideas about everything, because the film is completed in my head before we ever start shooting. With casting, I am always present, even for the smallest character.

I think of a film as being like a toy train.

In France, I am so free. I have more freedom than most American directors could dare to even imagine.

I write scripts by myself. It's not for everybody. It's someone's personal work. I need to be in love with the subject.

I hate to lose time on the set. On the set, you have to go at a good pace, because the clock is your master. For that reason, I have to know exactly what I'm trying to get beforehand.

When you make something you like and audiences reject it, the experience can be painful. But I've discovered...that when you make something you aren't exactly satisfied with, and someone tells you it's great, that's even mor...e painful and frustrating.

When you speak about generosity, about something good we have inside ourselves, you're speaking to the majority.

Each time, I try to find a family of interesting faces. I follow the tradition of films from the 40s - at this time, there were so many interesting faces in France. I often work with the same because there are not thousands and thousands in France. I'm looking for interesting faces and characters actors, and it's not for everybody.

In France, it's very suspect when you have a success.

This is one of the things I don't like so much about French cinema - we have tendency to concentrate on actors and dialogue and we don't care so much about the visual aspect. I love when you use all the elements at your disposal.

I love science fiction but I don't like fantastic [cinema]. For example, if you have a magical ring and you can explode the world with it. What are we talking about? You know, it's not interesting. I don't like Lord of the Rings. Even Star Wars, for me, I don't understand this kind of story. But Alien, because the rules of the game are very precise, it could happen. I love science fiction. I have an idea about robots in the future.

There is a new philosophy for weapons: it's more expensive to hurt people than to kill people. It's terrible. When you have a band of guys on the battlefield, if someone is dead, he's dead. If someone is injured then they have to take care of him, so six people are busy.

I would be wary about working in the States because freedom is an important thing. I have made seven films and even on Alien Resurrection I had the freedom. I had to fight and struggle a bit but in the end I won out.

When critics love your film, you love critics. When they hate your film, you hate critics. It's the same everywhere, but maybe especially in France, where we have pretty good critics, except for three or four newspapers that are really dogmatic.

In Hollywood everything is formatted, everything is compulsory, so therefore we have to follow the law of benefits and profit and money, let us say the law of Hollywood.

I'm very slow, and I do everything myself. I remember I spent three days to change the size of something I had sketched because I felt it was too small.