|Lars von Trier|
Trier at the 2011 Cannes Film Festival
30 April 1956
Kongens Lyngby, Denmark
|Education||National Film School of Denmark, University of Copenhagen|
|Occupation||Film director and screenwriter|
Breaking the Waves (1996)
|Movement||Hyperrealism, Dogme 95, German Expressionism|
CÃ¦cilia Holbek (m. 1987â€“95)
|Children||Benjamin Trier, Ludvig Trier, Selma Trier, Agnes Trier|
|Awards||Palme d’Or, EFA, Cesar, Bodil, Goya, Fipresci|
|Honours||Unicef Cinema for Peace, Knight of the Order of the Dannebrog|
If you want to provoke, you should provoke someone who is stronger than you, otherwise you are misusing your power.
I grew up in a culturally radical home, where strong emotions were forbidden.
I am not very tough with raising my children, but you can argue that to be more tough will help your children.
You could say that when you introduce humour to your work, you also step back a little from it. You create a distance.
I would say that I am a poor Christian; I'm not a believer. It was this idea very early in my life that life on Earth, nature or man could not be a creation of a merciful God.
When I show a film at a festival, I am showing myself. Everything is at stake for me.
That's the great thing about entering a convent: There are things that you simply can't do, so you don't have to worry about them.
You know, I really do have some morals. I do actually care about people. And I do have a political standpoint.
When I was in film school, it was said that all good films were characterised by some form of humour.
I'm happy that I'm alive. I feel like someone coming back from Vietnam, you know; I'm sure that later on I'll start killing people in a square somewhere, but right now, I just feel happy to be alive.
I'm having a vacation, and it's so beautiful, and maybe I'll never get another film idea in my life.
Only a fool does not fear actors, but you can't beat them, and if you can't beat them, join them, as they say. As I've got older I've become very interested in that part of the work.
Far be it from me to force anyone into either chess or dressage, but if you choose to do so yourself, in my opinion there is only one way: follow the rules.
Actors need bricks to play with, and in fact we rejected all the improvised fragments we had made without a plan. Improvisation without a plan is like tennis without tennis balls.
If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I've left behind me.
I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.
I sit there pouring out my woes year after year, coming up with one enormity after another about my mother and the way she let me down; but it doesn't make me any the less fearful.
My films are about ideals that clash with the world. Every time it's a man in the lead, they have forgotten about the ideals. And every time it's a woman in the lead, they take the ideals all the way.
When I was younger, I was fascinated by David Bowie, for example. he had created an entire myth around himself. It was as important as his music.
More than anything, there are more images in evil. Evil is based far more on the visual, whereas good has no good images at all.
I know that I cannot be with a person for three hours without saying at least ten things that would kill me.