¿Por qué, al menos, no me es posible matar a Dios en mi interior? ¿Por qué prefiere vivir en mí de una forma tan dolorosa y humillante, puesto que yo le maldigo y desearía expulsarlo de mi corazón? ¿Sabes? Estoy a punto de llegar a una conclusión... Creo que Dios es una especie de realidad engañosa, de la cual los hombres como yo no podemos desprendernos

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I know the first film I ever saw — it must have been some time in 1924, when I was six or so... was Black Beauty. About a stallion. I still recall a sequence with fire. It was burning, I remember that vividly. And I remember too how it excited me, and how afterwards we bought the book of Black Beauty and how I learned the chapter on the fire by heart — at that time I still hadn't learned to read.

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The demons are innumerable, arrive at the most inappropriate times and create panic and terror... but I have learned that if I can master the negative forces and harness them to my chariot, then they can work to my advantage.... Lilies often grow out of carcasses' arseholes.

My basic view of things is — not to have any basic view of things. From having been exceedingly dogmatic, my views on life have gradually dissolved. They don't exist any longer... I've a strong impression that our world is about to go under. Our political systems are deeply compromised and have no further uses. Our social behavior patterns — interior and exterior — have proved a fiasco. The tragic thing is, we neither can nor want to, nor have the strength to alter course. It's too late for revolutions, and deep down inside ourselves we no longer even believe in their positive effects. Just around the corner an insect world is waiting for us — and one day it's going to roll in over our ultra-individualized existence. Otherwise I'm a respectable social democrat.

Film has dream, film has music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster — a movement.

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I've never liked Welles as an actor, because he's not really an actor. In Hollywood you have two categories, you talk about actors and personalities. Welles was an enormous personality, but when he plays Othello, everything goes down the drain, you see, that's when he's croaks. In my eyes he's an infinitely overrated filmmaker.

Quiero confesarme y no sé qué decir. Mi corazón está vacío. El vacío es como un espejo puesto delante de mi rostro. Me veo a mí mismo, y al contemplarlo siento un profundo desprecio de mi ser. (Pausa) por mi indiferencia hacia los hombres y las cosas me he alejado de la sociedad en que viví. Ahora habito un mundo de fantasmas, prisionero de fantasías sin sueños.

My play opens with an actor walking down into the audience, where he strangles the critic, then reads aloud from a little black book all the humiliations he has noted therein. Then he throws up on the audience, after which he exits and puts a bullet through his head.