I Didn't Want Murder. It's All Gone

Know What It Is The Emotional Statement To Convey, And Use Taste And Judgement To Help The Actors Give Their Best Possible Performance.

I Have Always Enjoyed Dealing With A Slightly Surrealistic Situation And Presenting It In A Realistic Manner. I've Always Liked Fairy Tales And Myths, Magical Stories. I Think They Are Somehow Closer To The Sense Of Reality One Feels Today Than The Equally Stylized 'realistic' Story In Which A Great Deal Of Selectivity And Omission Has To Occur In Order To Preserve Its 'realist' Style.

The Destruction Of This Planet Would Have No Significance On A Cosmic Scale.

From The Very Beginning, All Of My Films Have Divided The Critics. Some Have Thought Them Wonderful, And Others Have Found Very Little Good To Say. But Subsequent Critical Opinion Has Always Resulted In A Very Remarkable Shift To The Favorable. In One Instance, The Same Critic Who Originally Rapped The Film Has Several Years Later Put It On An All-time Best List. But Of Course, The Lasting And Ultimately Most Important Reputation Of A Film Is Not Based On Reviews, But On What, If Anything, People Say About It Over The Years, And On How Much Affection For It They Have.

You're Free To Speculate As You Wish About The Philosophical And Allegorical Meaning Of The Film—and Such Speculation Is One Indication That It Has Succeeded In Gripping The Audience At A Deep Level—but I Don't Want To Spell Out A Verbal Road Map For 2001 That Every Viewer Will Feel Obligated To Pursue Or Else Fear He's Missed The Point.