Top 63 Pedro Almodovar Quotes
#1. The problem is that I work in more than one genre. It's impossible for me to aim for a single one because, for me, comedy is mixed with tragedy. That's very Spanish, the way in which comedy and tragedy are inextricable from each other.
Pedro Almodovar
#2. I think that the consciousness of passion makes you act very differently.
Pedro Almodovar
#3. There is a mysterious stillness and intimacy of a woman doing her hair and make-up which attracts me.
Pedro Almodovar
#4. Each actor is a very different person, and each one has to be directed very differently.
Pedro Almodovar
#5. La Mancha is a very macho, chauvinistic society. I saw very clearly that my life had to be in Madrid, and I liberated myself from my mum and dad after high school.
Pedro Almodovar
#6. Of course I want my films to look really good, but every single element is chosen for a reason. It's telling something in the story.
Pedro Almodovar
#8. I used this line to demonstrate how important colors are in movies: It's not a caprice.
Pedro Almodovar
#9. The Flower of My Secret is definitely more based in true emotions. I also wanted to make something more realistic, but not naturalistic or simple.
Pedro Almodovar
#10. All my movies are difficult to classify because they are very eclectic in mixing genres.
Pedro Almodovar
#11. Already when I was very young, I was a fabulador. I loved to give my own version of stories that everybody already knew.
Pedro Almodovar
#12. In fact, it was the women in our house who were in the saddle. If men are the gods, women are not only the presidents but all the ministers of the government.
Pedro Almodovar
#13. If I'd lived like my characters, I would have been dead before I'd made 16 films.
Pedro Almodovar
#14. You can make a thousand different movies about the same subject.
Pedro Almodovar
#15. It costs a lot to be authentic. And one can't be stingy with these things because you are more authentic the more you resemble what you've dreamed of being.
Pedro Almodovar
#16. The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
Pedro Almodovar
#17. I'm an artist, and I'm part of every decision in a movie.
Pedro Almodovar
#18. I think it's a change that I did not intend at the time but it is clear that, from The Flower of My Secret on, there is a change in my films. A lot of the journalists have very generously attributed this to my growing maturity.
Pedro Almodovar
#19. I'm more interested to show the darkest places of myself, and I don't joke about it.
Pedro Almodovar
#20. It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.
Pedro Almodovar
#21. My mother was an extremely creative woman, despite the fact that she lived the life of a rural housewife.
Pedro Almodovar
#22. The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
Pedro Almodovar
#23. To Bette Davis, Gena Rowlands, Romy Schneider ... To all actresses who have played actresses, to all women who act, to all men who act and become women, to all the people who want to be mothers. To my mother.
- Dedication, Todo Sobre Mi Madre
Pedro Almodovar
#24. I think that there is always a part of utopia in any romantic relationship.
Pedro Almodovar
#25. When I was young I thought: when I am 60 my necessities will be very different. As I get near that age, I realise they are similar to what they were when I was 25.
Pedro Almodovar
#26. I make movies for my needs. My goal has never, never, never been to make shocking movie.
Pedro Almodovar
#27. Yes, women are stronger than us. They face more directly the problems that confront them, and for that reason they are much more spectacular to talk about. I don't know why I am more interested in women, because I don't go to any psychiatrists, and I don't want to know why.
Pedro Almodovar
#28. I am partly not conscious of structure with my movies, but this is when I am writing. I leave my mind very free, and then I correct it after.
Pedro Almodovar
#29. If I make a movie in English, the money will come from Europe, so that I can keep my independence and freedom. The way they produce in Hollywood doesn't fit me.
Pedro Almodovar
#30. The 1980s really ended for me in 1992 with the film Kika.
Pedro Almodovar
#31. Broadway musicals, where you sing the whole time, I really don't like; I like alternating dialogue and music.
Pedro Almodovar
#32. When I start writing, the first line might come from reality, but the second and the third one, I have to write it. So this is the genesis of my creation. If I want to know what happens, if I want to find out the secret, I have to write it.
Pedro Almodovar
#33. After the enormous success of All About my Mother, all the awards and everything, I wanted to start a movie in exactly the same place that I used to be before. I wanted to show that all of the success had not changed my perception.
Pedro Almodovar
#34. I don't want to imitate life in movies; I want to represent it. And in that representation, you use the colors you feel, and sometimes they are fake colors. But always it's to show one emotion.
Pedro Almodovar
#36. All my movies have an autobiographical dimension, but that is indirectly, through the personages. In fact, I am behind everything that happens and that is said, but I am never talking about myself in first person singular.
Pedro Almodovar
#37. Cinema has become my life. I don't mean a parallel world, I mean my life itself. I sometimes have the impression that the daily reality is simply there to provide material for my next film.
Pedro Almodovar
#38. Even though I love my mother, I didn't want to make an idealized portrait of her. I'm fascinated more by her defects - they are funnier than her other qualities.
Pedro Almodovar
#39. Before shooting, I prepare with the actors much more like it's a theater play than a movie. Apparently, that way of working is very unusual.
Pedro Almodovar
#40. Well, as I was saying, it costs a lot to be authentic, madam. And one can't be stingy with these things, because you are more authentic the more you resemble what you've dreamed you are. - Agrado from Todo Sobre Mi Madre
Pedro Almodovar
#42. There's something about uninterrupted singing that just doesn't work for me, because at some point, I need my characters to talk. Without meaning to offend anyone, a musical like 'Les Miserables' would be the last thing I'd ever be interested in.
Pedro Almodovar
#43. I think decor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.
Pedro Almodovar
#44. If I had not been successful as a director, then I'm sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them.
Pedro Almodovar
#45. My first memory is of the eyes of my brother; he was looking at me all the time.
Pedro Almodovar
#46. I remember myself at 10 years old telling stories to my sisters and brother. This is something I did through my adolescence and even through my twenties.
Pedro Almodovar
#47. I think my films are always political, even if I don't put explicitly political things in them.
Pedro Almodovar
#48. Cukor is one of my favorite directors. He was a master at directing women.
Pedro Almodovar
#49. I'm really a nightmare for the fashion designer because I take away all of his authority, and I become the authority, and I turn him into my assistant. You could say I intervene, and I intervene in a very determining way in all the aspects that have to do with the visual construction of the film.
Pedro Almodovar
#50. Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.
Pedro Almodovar
#51. When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.
Pedro Almodovar
#52. When I was very young, I was already a fabulador. I loved to give my own version of stories that everybody already knew. When I got out of a movie with my sisters, I retold them the whole story. In general they liked my version better than the one they had seen.
Pedro Almodovar
#53. Cinema can fill in the empty spaces of your life and your loneliness.
Pedro Almodovar
#54. With this silent film, I wanted to hide what was going on in the clinic. I wanted to cover it up in the best cinematic way and in an entertaining manner.
Pedro Almodovar
#55. My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
Pedro Almodovar
#56. Success has got no taste or smell and when you get used to it, it's as if it didn't exist.
Pedro Almodovar
#57. I ask myself questions that journalists don't dare to ask or don't know how to ask.
Pedro Almodovar
#58. For there to be communication within a couple, it is enough for there to be only one person who communicates or who really wants to communicate. Even though a couple consists of two people, if one of the people in a couple puts all their effort into moving a couple along they will move along.
Pedro Almodovar
#59. I was born at a bad time for Spain, but a really good one for cinema.
Pedro Almodovar
#60. Never again work in the same conditions in whichyou made your first film. It's good to take risks, but not thatmuch risk.
Pedro Almodovar
#61. Hospitals are places that you have to stay in for a long time, even if you are a visitor. Time doesn't seem to pass in the same way in hospitals as it does in other places. Time seems to almost not exist in the same way as it does in other places.
Pedro Almodovar
#62. An ample arse helps you to be weighed down and be grounded.
Pedro Almodovar
#63. When I make a film, the mixing process is very long, and you hear and watch the material in every form, so that totally shreds your ability to perceive it. So after the mixing, there's no way I can have the emotions or the reactions to my films in the same way.
Pedro Almodovar
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