Yes, actually ever since I saw his films and tried to write about them, Sirk's been in everything I've done. Not Sirk himself, but what I've learned from his work.

For all of us it’s the things that won’t work that keep our interest.

The more real things get, the more like myths they become. There have always been myths, but the myths of earlier times were, Im convinced, bad ones, because they made people sick. So certainly, if we can tell evil stories to make people sick, we can also tell good myths that make them well.

I'd like to be for cinema what Shakespeare was for theatre, Marx for politics and Freud for psychology: someone after whom nothing is as it used to be.

People are terrible. They can bear anything. Anything! People are hard and brutal. And everyone is disposable. Everyone! That's the lesson.

Women think in Sirk's films. Something which has never struck me with other directors. None of them. Usually women are always reacting, doing what women are supposed to do, but in Sirk they think. It's something that has to be seen.

It isn't easy to accept that suffering can also be beautiful... it's difficult. It's something you can only understand if you dig deeply into yourself.

In the last analysis, terrorism is an idea generated by capitalism to justify better defense measures to safeguard capitalism.

Better a street-sweeper in Mexico than a filmmaker in Germany!

The more real things get, the more like myths they become.

Everyone must decide for himself whether it is better to have a brief but more intensely felt existence or to live a long and ordinary life.

I detest the idea that love between two persons can lead to salvation. All my life I have fought against this oppressive type of relationship. Instead, I believe in searching for a kind of love that somehow involves all of humanity.