Pedro Almodovar Quotes
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Yes, women are stronger than us. They face more directly the problems that confront them, and for that reason they are much more spectacular to talk about. I don't know why I am more interested in women, because I don't go to any psychiatrists, and I don't want to know why.
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I think my films are always political, even if I don't put explicitly political things in them.
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I'm an artist, and I'm part of every decision in a movie.
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If I make a movie in English, the money will come from Europe, so that I can keep my independence and freedom. The way they produce in Hollywood doesn't fit me.
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I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.
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The problem is that I work in more than one genre. It's impossible for me to aim for a single one because, for me, comedy is mixed with tragedy. That's very Spanish, the way in which comedy and tragedy are inextricable from each other.
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I used this line to demonstrate how important colors are in movies: It's not a caprice.
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I am partly not conscious of structure with my movies, but this is when I am writing. I leave my mind very free, and then I correct it after.
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I was born at a bad time for Spain, but a really good one for cinema.
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I don't want to imitate life in movies; I want to represent it. And in that representation, you use the colors you feel, and sometimes they are fake colors. But always it's to show one emotion.
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Cinema has become my life. I don't mean a parallel world, I mean my life itself. I sometimes have the impression that the daily reality is simply there to provide material for my next film.
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My first memory is of the eyes of my brother; he was looking at me all the time.
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Of course I want my films to look really good, but every single element is chosen for a reason. It's telling something in the story.
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I think it's a change that I did not intend at the time but it is clear that, from The Flower of My Secret on, there is a change in my films. A lot of the journalists have very generously attributed this to my growing maturity.
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The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
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My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
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If I had not been successful as a director, then I'm sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them.
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I ask myself questions that journalists don't dare to ask or don't know how to ask.
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I think that there is always a part of utopia in any romantic relationship.
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I remember myself at 10 years old telling stories to my sisters and brother. This is something I did through my adolescence and even through my twenties.
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I think decor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.
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The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
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With this silent film, I wanted to hide what was going on in the clinic. I wanted to cover it up in the best cinematic way and in an entertaining manner.
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Hospitals are places that you have to stay in for a long time, even if you are a visitor. Time doesn't seem to pass in the same way in hospitals as it does in other places. Time seems to almost not exist in the same way as it does in other places.