78 ordspråk av Lars von Trier

Lars von Trier

Lars von Trier föddes den 30 april 1956
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You cannot bring in props-if you are filming in a house, you use the furniture and props that are present in that house. If our fiction necessitates the use of a certain prop, we have to film where the prop can be found instead of moving the prop to where we would like to be.

I give myself a task. This time, the task was to do a musical.

My films have become highly moral recently.

Idiocy is like hypnosis or ejaculation: if you want it, you can't have it-and if you don't want it, you can.

If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I've left behind me.

I'm moving to a new house. I moved away from where I was born. I lived there for 44 years, so I just moved. So I'm actually trying to grow up. And I got myself a sports car, that's fantastic, an Alfa Romeo Spider. It's a two-seater. I have four children. I feel like I'm 18 years old.

We had to turn up the colors in the dance sequences to make people feel that there were different levels of the film. I was not so fond of that, because it made the dancing more glamorous in a superficial way than what I really wanted, but it was necessary for the understanding of the two levels.

I have maneuvered my way through four or five different types of cancer that I completely succumbed to. It's amazing how many probable types of cancer can arise when hypochondria permits.

If one devalues rationality, the world tends to fall apart.

One morning I greeted the cast naked in the front drive and insisted that today was to be a nude day. No, we didn't have any nudity problems.

Evil gives you far more strings to pull. But I must say that I have never been interested in the psychology of evil, not in the slightest. Perhaps I'm not interested in evil, but in the dark sides of human beings.

Perhaps it sounds pretentious, but in one way or another I hope that you can see that every image contains an idea. It certainly sounds presumptuous-and perhaps it's also untruthful. But as I see it, every image and every cut is thought out. They are not there by chance.

I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.

Actors need bricks to play with, and in fact we rejected all the improvised fragments we had made without a plan. Improvisation without a plan is like tennis without tennis balls.

If you tell a man what to do in real life, to which extent is it reality and to which extent are you in control?

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