I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
The visual architecture of 'Biutiful' is the most sophisticated of all the films I have directed.
Movies become art after editing. Instead of just reproducing reality, they juxtapose images of it. That implies expression: that's art.
'Amores Perros' is three stories that interconnect in one moment, which is the car accident.
The creative process is mysterious: a conversation, a ride in the car, or a melody can trigger something.
Life and death are illusions. We are in a constant state of transformation.
I have a notebook, and I know what decisions will be made in pre-production. Everything is pre-determined in the pre-production period. I visually design the whole thing, and I know when things will happen.
It's famous that comedians have a very dark personal state of mind. I think, in my case, it's the same. The only way to get deep is to have a balance, or a counterbalance.
When you see things upside down, the ego can be extraordinarily funny: it's absurd. But it's tragic at the same time.
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