Jacques Audiard Quotes
I don't feel comfortable with violence, and I'm not sure that I film violent scenes properly, and it's something I'm reticent to do, and yet violence is sort of in all of my films.
Quotes to Explore
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A lot of places I go are dangerous, like Tel Aviv or Rio, but that never stops me from going there and putting on a show. I have good security. I don't worry about that.
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Don't try to guess what it is people want and give it to them. Don't ask for a show of hands. Try your best to write what you like, what you think your friends would like and what you think your father would like and then cross your fingers... The most valuable thing you have is your own voice.
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I'm not trying to do anything too tricky.
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I don't try to just be a blues singer – I try to be an entertainer. That has kept me going.
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I wanted to pay tribute to my musical influences: Buffalo Springfield, Lightfoot, the Beatles, the Hollies.
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I've been writing songs since I was at least 20. That's what I wanted to do before I became a model.
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Love is the one wild card.
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Legend: A lie that has attained the dignity of age.
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To be able to make decisions and see them come to fruition and feel the excitement around them, what it generates within the company, how the artists get motivated - that's the most rewarding part; feeling I can be a catalyst for an artistic experience for our artists and for the public.
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It's very important to me to love what I do. It was important to me to find a career that I truly enjoy. You can find something that sort of excites you, that's half the battle of life.
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I had a rat-tail when I was younger. I had this nice Bobby Brown fade, with a rat-tail that was long enough to wrap around my face. I used to chew on the end and bite it.
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People in the film industry always want to save for a rainy day. Many early actors died in small houses with no money, and so they are insecure. My advantage is I don't value money that much. It's an easy thing for me to let go.
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I had arrived years ago in Paris and just wanted to be famous, fast. When you're pretentious like that, and you think you've planned everything perfectly, it's then that everything goes in the opposite way.
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Everybody has done something about Marco Polo. It's the tiredest, most trite and worked-over subject in the world, and that was why it appealed to me, because I wanted to do something really new and different about something that had been worked over all these centuries, and I think I did.
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Terms like that, 'Humane Society,' are devised with people like me in mind, who don't care to dwell on what happens to the innocent.
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There are plenty of difficult obstacles in your path. Don't allow yourself to become one of them.
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I was born free.
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As a teenager, I had big breasts for my age, and my friends cracked on me a lot.
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The danger of that - and there's a grave danger that I, myself, have to be very aware of - is that you become so involved and intrigued in the language that sometimes you lose track that that is only a means to an aesthetic experience that the listener has to get.
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We play the music we want to play and we play the places we want to play. I'd hate to be on the usual record company where you get an album out and you do a tour, and you do all the Odeon's and all the this that and the others. I couldn't just do that at all.
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Every taxi driver I have ever spoken to has a theory of gender.
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The violence in society, I'm afraid, is perpetrated by the people at the top.
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Violence is not funny.
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I don't feel comfortable with violence, and I'm not sure that I film violent scenes properly, and it's something I'm reticent to do, and yet violence is sort of in all of my films.
