quote by Werner Herzog

Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung fu film.

— Werner Herzog

Most Powerful Godard quotations

I was six years old when I saw my first Godard movie, eight when I first experienced Bergman. I wanted to be a director when I was fourteen.

What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.

Her voice was like a line from an old black-and-white Jean-Luc Godard movie, filtering in just beyond the frame of my consciousness.

Godard is incredibly brilliant, the things he says.

Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant.

It makes no sense to bad mouth people, but I think Jean-Luc Godard is astonishing as a survivalist, somebody who can do a film that is as extraordinary as Goodbye to Language.

I was fascinated by quotations and lists.

And then I noticed that other people were fascinated by quotations and lists: people as different as Borges and Walter Benjamin, Novalis and Godard.

I think it was [Jean-Luc] Godard who said that life is nothing but a bad copy of film, but then our ambition must be to make better films and better shapes of forms that are given in life.

Everything had been done long before I started making movies.

I mean, there's nothing that Godard hasn't already done. You can't do a single thing that Godard hasn't already thought of. And so you struggle to do something that is not predictable.

Reality cannot be photographed or represented.

We can only create a new reality. And my dilemma is how to make art out of a reality that most of us would rather ignore. How do you make art when the world is in such a state? My answer has been to make mistakes, but when I can, to choose them. We are all guilt victims choosing mistakes, and as Godard said, the very definition of the human condition is in the mise-en-scéne itself.

I go back to many films that I really love.

Some Bresson, some Godard of the early times, the Cassavetes of those years I love. And the early Wim Wenders. But my own films I don't watch, unless I need them.

I grew up in the heat of '70s postmodern fiction and post-Godard films, and there was this idea that what mattered was the theory or meta in art.

I love beautiful black-and-white movies - anything Bette Davis, especially Now, Voyager, Casablanca, Mildred Pierce; anything by Orson Welles, Truffaut, or Godard; and Paper Moon by Peter Bogdanovich.

Jean-Luc Godard said that cinema is the truth 24 frames a second.

I think cinema is lies 24 frames a second.

To me, Godard did to movies what Bob Dylan did to music: they both revolutionized their forms.

Like Godard, Tati is also remarkably appreciative of the odd beauty that can be revealed in the shapes, patterns and colors created by the technology of planned obsolescence.

This false distance is present everywhere: in spy films, in Godard, in modern advertising, which uses it continually as a cultural allusion. It is not really clear in the end whether this 'cool' smile is the smile of humour or that of commercial complicity. This is also the case with pop, and its smile ultimately encapsulates all its ambiguity: it is not the smile of critical distance, but the smile of collusion