Terry Gilliam

“Look at this, there's two Rififis. There's one I bet is a Blu-ray and one is a, look at that.”

“And it goes 8½. I have a lot of these already so I can't touch them. 8½ is, you know, this is the film that is the first film that really convinced me that's what a film director, what his life and job is about. People like Truffaut made Day for Night, which is a wonderful film, but it's a lightweight version of what a director's life is. And this was before I even got into the business. And having now made films, I realized the honesty and the truth of 8½ more and more.”

“And here is the film that completely changed my view of what films are about. It was a Saturday matinee in the San Fernando Valley, and, all the kids were thrown in there by their parents to get out of their parents' way for the afternoon. And I was about 13 years old, and this film came on, and it completely changed my life because I suddenly realized films are about justice, injustice, the rights, the wrongs of the world. They're not just jolly entertainment. And I spent my life trying to combine jolly entertainment with very serious looks at the world we live in. Brazil, the shots through the clerks' pool, the tracking shots, are all my homage to Stanley and those wonderful shots going through the trenches. First time I'd seen, first film I saw that I was aware of the camera doing something, not just a static observer, but a participant in the whole process, the dynamics of the process. So this is going to be the last film I take, and then I'll go and go to my real job, which is selling The Man Who Killed Don Quixote to an unknown, unwashed public. Thank you very much.”

“Look, next to Brazil: Yo- [ __ ] -jimbo, yes!”

“Here's a Tati complete, mine. This is, this is my revenge on all the great talents because I can do what I want with their work and they're not in the closet with me.”

“Now one thing that is interesting when I saw this Bergman stuff here, which I'm going to take, I'm going to open. Oh, this may break my back, I, but I'm going to put it in here because it's important to put in there. We'll sort out the transportation later. But when I made Brothers Grimm, and there was Bergman, one of my great heroes. Seventh Seal and Wild Strawberries, they all were wondrous films that I'd hoped one day to be able to make something even a fraction as good as that. But making Brothers Grimm, Peter Stormare, who plays a main character in the film, had worked with Bergman. He knew him really well. In fact, Bergman had directed, redirected him in Hamlet on stage. And he said to me as we worked on Brothers Grimm, "This is like working with Ingmar." Which is funny because everybody assumes Ingmar Bergman is a very serious, solemn man. And Peter said, "No, Ingmar, we laughed the whole time." And that, I thought, there's moments like that when you realize, oh, maybe I, I can do some, this kind of work. I don't have to be as serious as I thought you had to be. You can have fun and direct.”