Surrealism was necessary - essential, even - in the 1920s to bridge the gap between rationalism and the subconscious. It started something important. But by the early '60s, it had become petit-bourgeois; it was too intellectual and romantic, and had ground to a halt. It had become respectable.
The Arabs have a God, the Jews have another, and the Catholics have another! And they're all fighting to maintain that they worship the one real God. Idiots!
I am not a man. I am not a human being inside. I am not that. I don't know what I am, but I am not that.
I am not a normal person. I am living in a normal body, but my mind is not normal.
I am an artist, you understand? For me, a picture is like poetry. When you make art, this is not coming from an intellectual place. It's coming from the deep side of your unconscious, your soul.
You dream every night. Every person in the world, even if they don't remember, is dreaming every night.
I don't want to just love my family; I want to love all of humanity.
I never wanted to study art. And I don't think you need to study art if you are an artist. It's even dangerous to go to school. You need to do whatever you want, as you want.
When I was a young person I went to the university and I learned a rational language, to think with the left side of the brain. But in the right side of the brain you have intuition and imagination. Words are not the truth; they indicate the way to go, but you need to go alone, in silence. Symbols have a language that kills the words.
Scientific thought and the miraculous unconscious are two waves in the same ocean.
I write books, I write for comic books, I give lectures... I live. And when the opportunity comes to do a picture, I do a picture.
The end of the surrealism movement was so political, so artistically pure.
When I was an adolescent, I abandoned my country at 23 years to come to Paris to know Andre Breton, the 'Pope of Surrealism.' And for three years, I was there working with him being a surrealist.
When I'm tired, I see industrial pictures. But I'll see one every two months. If I see one every day, I'll become an idiot.
Movies have an enormous power to open the mind and the heart and everything.
Tarantino's 'Django' amused me very much. It is as made by an adult that was still a child.
I hated Peter O'Toole. I wanted to kill that guy! When they said he was dead, I was happy. People said, 'Poor Peter O'Toole.' I was happy!
Today a picture has value if it makes a lot of money. Myself, I declare I want to make a picture to lose money. Really! I want to lose money.
What's important is to give your ideas to the world if you love the world.
My father was an atheist, absent. He was a salesman; I was four years old when he told me that the end of life was death.
I like Hollywood movies. I like them like I like to eat scrambled eggs; I like them for fun.
A man doesn't cry. In my life, I've never cried. I cannot do it. I am a man. How will I cry?
Revolutions are of no us;, it is necessary to work on transforming the brain: on sowing a different knowledge/awareness, on creating a new conscience, that is like a magic box full of brains.
My films are completely new. I am not similar to anybody in the history of movies.
Society feeds terror and is in turn terrorized; we are afraid to lose, so we consume.
I had a big problem working with stars, because they are too expensive and have too many demands. Their names help you raise the money to make the movie, but then they demand close-ups. They change things. You end up doing things at their service instead of servicing the film.
'Santa Sangre' is the picture I love the best, myself, because 'El Topo' and 'The Holy Mountain' I made with my head, and 'Santa Sangre' I made with my feelings, with my heart. It's an emotional picture. And it's more real for me, that picture.
I feel terrible for directors of TV because all the episodes have to look the same. They make a great series for five or six years, and then when it's canceled, they can't break out on their own.
My ideal audience is on the young side, eager to mutate and move to a higher level of consciousness. I want my images to turn the viewer's brain into what it is: a flying carpet.
I didn't want to make cinema so a person forgets himself and has a lot of fun. 'I forget myself, I am a little poor consumer.' I wanted to make a picture where someone who sees it say, 'This is me! This is me!'
To have hands, to have fingers, is weird. Real life is weird, to have fingers?
I was alone as a child. I lived in fairytales, adventures, Shakespeare. They are the friends, my books.
A person is not the same in his life at all times. Your consciousness is developing all the time. When I started making 'El Topo,' I was one person. When I finished that picture, I was another person.
I am not like Hitchcock, directing the reaction of the public or the audience. I don't like that. I think this is some kind of fascism - 'You need to react like that.' No. No. It's not like this; everyone needs to react as he can.
I wanted to be loved by my father. I could do anything to be loved by my father.