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Michel Gondry Quotes

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I think my imagination dictates the technologies I use. But at the same time, my imagination can be technologic. Sometimes I see a tool and I know immediately how to use it, but most of the time I use the tool for an idea I already have.

I always wanted to create this community that would come and tell their own story, shoot it - and watch them. The idea is to not have one entity who creates the work, the project, and another entity who consumes it; the idea is people create their own work, like somebody cultivating his garden.

When people are very original, sometimes they are original as a way to resist the mainstream.

I had a lot of encouragement and tolerance from my parents, but I also have many friends who didn't get that from their parents and in a way they have more strength from spending years where nobody believed in them.

My grandfather lived across the garden from us, and in his attic he had a lot of radios, appliances and inventions that he had made over 50 years, such as a keyboard called a clavioline, which can be heard on some Beatles songs - it was popular in the 60s. So we had all that at home.

My father had a Super 8 camera when I was a kid and sometimes he would use it. I did some animation with it. I did a lot of flipbooks.

The beauty of doing film is that you construct whatever you do block by block and you can build something that will stay.

When I shoot actors, I have that dilemma. I want the actor to be good, and sometimes I have to push them to a place that isn't pleasant. I always think: 'Is it worth doing for the sake of the movie?' But I have to remember the bigger picture.

At school I was very shy. I wasn't funny really.

I don't mock things, which makes me more vulnerable to mockery myself. If you're cynical, you're protected from mockery. But I have to be nice. I don't think I have irony. A sense of humour, yes, but not irony.

I'm attracted to working with comedians because they don't have that stars' idea of what a hero should be. The downside is they're always addressing the camera too much.

I don't like the idea of competition - maybe because I kept losing them when I was a kid. Maybe it's better to be the one who loses?

All these gadgets, the phone and the computer, they expose the inside of your brain in a way that's bad.

I think it's a problem when journalists have the title of their article before they do the interview, because it biases the way they conduct it.

That's what the internet is: it's like bombarding your eyeballs with these myriad blinking colour lights. It's like trying to watch a movie on your phone in the middle of Times Square.

I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.

I'm part of the consumer culture... I'm just using the space I am given to express something that is out of the space so I'm part of the consumer system but I'm advocating stepping out. Which is a contradiction but I could be part of he consumer system and say, 'let's consume even more.'

People who get to express their voice are paid by the people who make profit from it. So they're going to make you believe you have to spend your money buying these products otherwise you won't be happy. This is really wrong. Especially the implication it carries.

You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.

I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor, my relationship with the actor, and so on.

I don't call cut between the takes - it's my way to help the actor keep focused. As soon as you say 'cut' you have 10 people jumping on them and everybody's trying to do a great job, and they do, but sometimes they forget that the more important thing is the performance, creating the performance.

The first dolly track was somebody who had the idea to put the camera on a boat on a canal. So the boat would move very slowly but steadily. So they would see all that surrounds you and you'd see the landscape changing slowly. So that was the first time.

I learned to drive when I was 35. I'm driving like an old lady and very close to the wheel. I don't take many risks, and when people yell at me I say 'sorry, sorry, sorry!' I don't have road rage yet.

In my opinion, it's more interesting to see magic happening in a world that feels grounded. If the world is already crazy, then anything can happen. So it's better to start with something real.

It's very hard to say I'm surrealist. It's like saying I'm poetic. It's not something you want necessarily to be aware of.

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