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Pedro Almodovar Quotes & Sayings
28 entries tagged including 6 subtopics.
Last updated Jan 2021
Pedro Almodovar Topics
Right now I don't know if I have dreamt about this or not. But when you are in the ocean you must swim. Being on the race for the Oscars, logically I want to win.
I don't know if All About My Mother is my best film yet. I haven't had time to analyse it. If you look at the argument it looks like an outrageous story, but the challenge was to show the story as something real and emotional. The truth is that everybody leaves the cinema feeling a better person.
All my movies have an autobiographical dimension, but that is indirectly, through the characters. In fact I am behind everything that happens and that is said, but I am never talking about myself in first person. Something in me -probably a dislike of cheap exhibitionism- stops me from approaching a project too autobiographically.
Even people who work with me don´t know who I´m dating. I just don´t talk about it so that I won´t implicate others. Just because they´re dating someone famous doesn´t mean they have to lose their privacy. But am I involved? Yes. It´s nice to be wanted romantically, to be desired and, right now, I am.
Yes, women are stronger than us. They face more directly the problems that confront them, and for that reason they are much more spectacular to talk about. I don't know why I am more interested in women, because I don't go to any psychiatrists, and I don't want to know why.
With this silent film, I wanted to hide what was going on in the clinic. I wanted to cover it up in the best cinematic way and in an entertaining manner.
Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.
The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
The Flower of My Secret is definitely more based in true emotions. I also wanted to make something more realistic, but not naturalistic or simple.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
The 1980s really ended for me in 1992 with the film Kika.
It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.
In fact, it was the women in our house who were in the saddle. If men are the gods, women are not only the presidents but all the ministers of the government.
I was born at a bad time for Spain, but a really good one for cinema.
I used this line to demonstrate how important colors are in movies: It's not a caprice.
I think that the consciousness of passion makes you act very differently.
I think it's a change that I did not intend at the time but it is clear that, from The Flower of My Secret on, there is a change in my films. A lot of the journalists have very generously attributed this to my growing maturity.
I think decor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.
I don't want to imitate life in movies; I want to represent it. And in that representation, you use the colors you feel, and sometimes they are fake colors. But always it's to show one emotion.
I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.
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