Pedro Almodovar Quotes

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 think décor 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.

Cinema can fill in the empty spaces of your life and your loneliness.

I make movies for my needs. My goal has never, never, never been to make shocking movie.

Even though I love my mother, I didn't want to make an idealized portrait of her. I'm fascinated more by her defects - they are funnier than her other qualities.

Anything that is not autobiography is plagiarism.

I think that the consciousness of passion makes you act very differently.

All my movies are difficult to classify because they are very eclectic in mixing genres.

Each actor is a very different person, and each one has to be directed very differently.

Cinema has become my life. I dont mean a parallel world, I mean my life itself. I sometimes have the impression that the daily reality is simply there to provide material for my next film.

A dead love never dies.

Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be.

I think that there is always a part of utopia in any romantic relationship.

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.

I was born at a bad time for Spain, but a really good one for cinema.

An ample arse helps you to be weighed down and be grounded.

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.

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.

Cukor is one of my favorite directors. He was a master at directing women.

Never again work in the same conditions in whichyou made your first film. It's good to take risks, but not thatmuch risk.

I am partly not conscious of structure with my movies, but this is when I am writing. I leave my mind very free, and then I correct it after.

I'm more interested to show the darkest places of myself, and I don't joke about it.

I don't want the director to have to make any decisions except to say "action" and "cut."

I used this line to demonstrate how important colors are in movies: It's not a caprice.

When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.

My mother was an extremely creative woman, despite the fact that she lived the life of a rural housewife.

There is a mysterious stillness and intimacy of a woman doing her hair and make-up which attracts me.

When I was young I thought: when I am 60 my necessities will be very different. As I get near that age, I realise they are similar to what they were when I was 25.

The 1980s really ended for me in 1992 with the film Kika.

La Mancha is a very macho, chauvinistic society. I saw very clearly that my life had to be in Madrid, and I liberated myself from my mum and dad after high school.

You can make a thousand different movies about the same subject.

If I make a movie in English, the money will come from Europe, so that I can keep my independence and freedom. The way they produce in Hollywood doesn't fit me.