Your characters have to remain innocent of what your picture is after.
These happy endings all express the weak and sly promise that the world is not rotten and out of joint but meaningful and ultimately in excellent condition.
If I can say one thing for my pictures, it is a certain craftsmanship. A thought which has gone into every angle. There is nothing there without an optical reason.
My idea at this time, which was slowly developing, was to create a comedie humaine with little people, average people - samples from every period in American life.
And in movies you must be a gambler. To produce films is to gamble.
The war was the end of an era, in art as well. And we were trying to create a new philosophy.
Your camera is the best critic there is. Critics never see as much as the camera does. It is more perceptive than the human eye.
You have to think with the heart.
So slowly in my mind formed the idea of melodrama, a form I found to perfection in American pictures. They were naive, they were that something completely different. They were completely Art-less.
At the same time, of course, Marxism arose - Rosa Luxembourg, Leninism, anarchism - and art became political.
I considered that the homes that people live in exactly describe their lives.
In the 19th century, you had bourgeois art without politics - an almost frozen idea of what beauty is.
I was making films about American society, and it is true that I never felt at home there, except perhaps when my wife and I lived on a farm in the San Fernando Valley.
And it really began with Einstein. We attended his lectures. Now the theory of relativity remained - and still remains - only a theory. It has not been proven. But it suggested a completely different picture of the physical world.
But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them.
For un-subscribe please check the mail footer.