Rithy Panh Quotes

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I think that, as a filmmaker, you're always making the same film, regardless of how many different stories you tell. This is the case for me, whether I'm making documentaries or fiction films.

In all of my films, there is a desire to testify, to interrogate the past.

Every time you are getting ready to make a shot in a documentary film, you are asking yourself questions about your cinematographic approach. You are approaching the truth, but the image is never the truth itself.

When the Khmer Rouge reached Phnom Penh, the first thing they did was to evacuate the population. Then they took over. The point of a revolution is to bring justice to the people, so even if you don't have proof of sabotage, you manufacture it.

To me, form is not something that you can plan beforehand, especially for a documentary. You can't write it or sketch it. It requires a confrontation with reality, with history, with ethics and morals. After identifying good content, you have to find the right form to express that content.

'The Missing Picture' came together slowly, after much provocation and by refusing different forms, until I finally found the right form.

I left Cambodia when I was 12 or 13. I didn't really escape, but I needed to go away.

I have only one life, and I can't do all. If I do one thing well, I'm happy.

Evil has always been there; it's always a part of us. Evil is no big surprise. But what about the people who gave freely, who stood up for human dignity? Even in the most extreme and terrible situations, these acts of dignity existed. And for me, that is the banality of good.

Part of the Khmer Rouge project was not only to destroy individual people, but to destroy the very notion of the individual. I want to simply rebuild the stories of people - it's part of my fight against the Khmer Rouge agenda.

We need a peaceful, modern Cambodia. We need to achieve that. It's not easy.

I have never been political in a partisan sense.

We must be capable of writing our own history.

I didn't survive because I was stronger than others. I survived because my family and friends helped me to survive. They took my place. My job is to give them back their dignity, tell their story, and say their names.

I'm not someone who has to make a film at any cost. I have to find the right way to make it or not at all.

'S21' was a film about corporeal memory and how the same gestures repeated many times years earlier can be reawakened.

The Khmer Rouge tried to delete everything. They tried to erase our past, our personality, our land, our sentiment. What we tried to do in 'The Missing Picture' was to reconstruct our identity, to bring it back to the people through cinema.

Sometimes if you can tell one personal story with a lot of sincerity, it can become a universal story.

In this era of digital special effects, I think it's good to work with our hands and our hearts, to use water and clay, to dry it in the air from the sun. This brings you back to the element of life.

If you can keep something very personal, like a song, like a color, like a story, deep in your heart, then nobody can destroy that. Nobody can destroy your imagination; nobody can destroy your love.

We need creativity. We need more poetry after Auschwitz.

Totalitarians always want to kill culture. But imagine life without football, Faulkner, or Bob Dylan. It's not life.

I wasn't predestined to be a filmmaker; this wasn't an obvious choice to me.

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