Nicolas Roeg quotes:

Years ago I had a house in Sussex, it was like Arcadia, with an old Victorian bridge, a pond and the Downs.

You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.

I've always admired the tradition of storytellers who sat in the public market and told their stories to gathered crowds. They'd start with a single premise and talk for hours - the notion of one story, ever-changing but never-ending.

There was a village watercolour society and they'd come and paint in my field. I watched them from the window, the way they would struggle this way and that to find the perfect moment. God has made every angle on that beautiful, and I felt that tremendously.

Any change in form produces a fear of change, and that has accelerated. Marketing is the death of invention, because marketing deals with the familiar.

I've used mirrors in a lot of movies. I think the mirror is an extraordinary thing, also the reflective, a reflection in water, etc.

I made a film called 'Bad Timing' that I thought everybody would respond to. It was about obsessive love and physical obsession. I thought this must touch everyone, from university dons down.

Men and women's needs and desires overlap but go in different directions as well.

The great difference between screen acting and theatre acting is that screen acting is about reacting - 75% of the time, great screen actors are great reactors.

I hate it when people talk about Tony Curtis and say: 'His real name was Bernie Schwartz... ' That was just the name that he was given at birth. It's not the person he lived his life with, and became.

There's horror in your life, believe me, whether it's coming, or you've just been lucky to miss it today.

Puffball' is a love story... no, it's a life story.

I came up the old-fashioned way - tea boy, cutter, focus-puller, cinematographer - but I wasn't myself old-fashioned.

When a book is just a plot, you know, two men fight for the love of a woman in a wild frontier, I immediately ask, 'Why?'

A lot of my movies have come to be thought about only years after the fact, and I'm sad about that but also happy about it in a way, as it's given them longevity.

Oscars are won with two or three shots only, because if it's really beautifully photographed, you don't really notice it until the astounding moment emphasizes it.

Fear has many faces.

How can you judge one film against another?

Children's finger-painting came under the arts, but movies didn't.

Any cuts that are done to any film, they're usually things that have some personal resonance for whoever has got permission to cut it and feels they should. But it has very little to do with the actual weight, the truth, of the piece.

You can't hide in life. We are all being watched by some larger vision.

I wouldn't like to be a non-believer in anything.

Our lives are full of all the genres. Fear and hope and sadness.

Movies are not scripts - movies are films; they're not books, they're not the theatre.

Nature repeats itself, but it never starts from the beginning.

Some people are very lucky, and have the story in their heads. I've never storyboarded anything. I like the idea of chance. What makes God laugh is people who make plans.

Youth is so exciting. It'll take over. I don't want to be swept away. I want to be with the taking-over people, right to the end.

We can't get our youth back.

Movies which set out to be 'commercial' usually have an artificial look about them-a certain waxlike quality. They allow for no failure, no moment of mistake.

I've never tried to enhance my reputation. Never moved upwards from one thing to another. That sort of thing is of no interest to me at all.

When I look around, I begin to understand what Socrates meant when he said, 'How much there is in the world I do not want.'

Don't you think it's something strange that you rarely look at yourself in the mirror, except to do things like stand and ponder? I mean, in Shakespeare's day, it was thought that the mirror would reveal something, that it is trying to tell you something - not just to tidy your hair, but something more.

We all have our beliefs or our agnosticism.

When my sister and I were very young, my father used to tell us fairy stories that he'd made up. My mother was always telling him that he should write them down, but he would say, 'Well, they've all been done before. There are so many blooming books in the world - why should I write another one?'

When I went to the cinema as a boy, when I saw a war film, I thought the general was the star, and that Cary Grant was an extra. I had no idea about the structure of film, but I loved going to the cinema.

I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.

And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.

They think something's gone wrong, but in Don't Look Now, for instance, one scene was made by a mistake. It's the scene where Donald Sutherland goes to look for the policeman who's investigating the two women.

I imagine if aliens came down to Earth, they'd actually be quite tall; people seem to get everything right about extraterrestrials but the size!

Eureka' was very bad timing. The early 1980s: Reagan and Thatcher were in, greed was good, and here was a film about the richest man in the world who still couldn't be happy. Politically and sociologically, it was out of step.

People are mistaken to view cinema as some sort of gimmick. It's very much ingrained in the ways in which we understand each other.

Grief is an emotion that's almost unplayable because you're in a separate emotional state; it's an inconsolable emotion.

Critics reach that age when it is as valuable and daring to hold a negative opinion as it is for a positive. We learn and understand from both.

We're all influenced by everything unless we're locked in an empty room.

Our memory and the movies keep movie stars alive for us, and Tony Curtis is still a star.

I've always loved the future. But I must say the future changes a lot quicker than it used to. An era used to last thirty or forty years - now we're lucky if it's five.

The rules are learnt in order to be broken, but if you don't know them, then something is missing.

When you admire someone's work, you are amazed by who you think they are.

In life, we all learn from everyone.

I generally try to avoid talking about my old films - I find it difficult.

I like getting up early, but I haven't got a routine - mainly because I never have a clear idea of what day of the week it is.

I think I've never really liked the idea of genre, a film that follows the rules of a genre.

I've always felt that, although Truffaut was greatly revered and admired, at the same time, in terms of film and how much he loved film, he was underestimated.

But in marketing, the familiar is everything, and that is controlled by the studio. That is reaching its apogee now.

In marketing, the familiar is everything.

I've always thought there was something very marvelous and magical about mirrors, and that they are connected to memory as well.

Marketing is a very good thing, but it shouldn't control everything. It should be the tool, not that which dictates.

Mirrors are the essence of movies.

My father was an extraordinary man.

Too many films today feel formulaic and familiar. I prefer it when the familiar is made to feel strange.