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@stufflarssays
In Dogville we were really working with the idea of landscape. The apple trees, the mountains, it was all pretty romantic. There were also sounds that came from outside, from the landscape. There is no landscape in Manderlay. And at no point do you get the feeling that there is an outside. All the sounds come only from inside. I wanted to create a feeling of isolation, after all Manderlay is a prison.
LvT, 2005 - Die Zeit
I could try to insist on a symbolic power. I could lay down the rule that during this talk you have to address me as King Lars. I could threaten to leave the room if you disobeyed. But that would do nothing to change the fact that in an interview, the same rules apply as in cinema. No matter what happens during the filming process, the power is in the hands of the editor. You have the scissors in your hands so you have absolute power.
LvT on the power dynamics of an interview situation, 2005 - Die Zeit
Phheww. I tell you it's hard work. No, I'm not ever making it easy for myself. I feel a little bit like a mountaineer, you know; if it gets a little bit easier, then I take a more difficult route and when that gets too hard, then I change my technique. The way you reach the top can change.
LvT on the Ring cycle opera project he later abandoned, 2003
I see Grace and Tom as being two parts of me. If it's a self-portrait, then it's not a very nice one. I don't sympathise very much with either character, but it's true.
LvT on Dogville, 2004
I start with something that you would call a verité, then I try somehow to defend it by putting on a style.
LvT, 2004
On some of the doors the handle seemed to move, and doors were being opened in people's faces. I did not care so much about that, although maybe that should have been taken more seriously. I remember Paul [Bettany] getting really mad and shouting at someone: 'You stepped through the wall, you idiot!'
LvT on the chalk-marked houses of Dogville, 2004
I'm proud of it, it's very much me [...] My daughter said: 'Daddy, you know it can't come off.'. Normally it's the other way around.
LvT on his knuckle tattoo, 2011
I don't think I've had a closer working relationship with anybody than Björk [...] She had always controlled everything she had done and I had always controlled everything. And she is nuts, right? Let's face it. But very talented. I'm nuts probably also, she'd claim that. We're both nuts. It became a power struggle which was idiotic.
LvT, 2011
I feel a certain kind of familiarity with the crazy side of the British.
LvT, 2011
I think melancholia is such an important ingredient in everything that surrounds us. And it is like salt when you make food. It brings out the taste. And melancholia is in everything - in music, in painting - and if it's not there, it's just not worth using time on. And I think it is in many people, and it is this strange longing and it is the wolf crying at the moon. And it is beauty and it's scary and it's cold and it's warm. Melancholia I think is a very human thing - but when it goes further than just being melancholia and goes to depression or anxiety or whatever mental disease then it's of course not good. But it's a very important part of being human.
LvT on melancholia, 2011
I had a very angry letter from him, saying that I was spoiling film and ruining film.
LvT on Dirk Bogarde, 2011
Antichrist is kind of an emergency film, a lifeline. I had to do something, otherwise I would just have slunk back into bed and stared at the wall.
LvT, 2009 - The Big Issue Scotland
There is nothing in the Dogme rules about cheap films or digital films
LvT on general misconceptions about Dogme, 2005 - Time Out
There is something about the British and Danish sense of humour that is close. It's not the same when you talk to Americans.
LvT, 2005 - Time Out
I don't care what people think of me. But Cannes is actually quite aggressive. You change a little bit because you have to survive it. You become the politician who has made a big mistake and is being asked, 'So, what do you have to say for yourself?'
LvT on Cannes press conferences, 2005 - Time Out
Working with actors is a little bit how a chef would work with a potato or a piece of meat. You have to kind of have a look at the potato or the piece of meat and see what kind of possibilities are in the ingredient. I know I’m using the wrong metaphor.
LvT, 2009
I have a very problematic relationship with my mother. Not with my father. But my mother for me was like the power. She was a feminist, she was a leader of the Danish feminist movement for some years. And she was part of the Danish Resistance movement during the war. She was close to getting killed, so she was a hero.
LvT, 2009 - Dekalog: On Dogville