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Pedro Almodovar

I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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Pedro Almodovar
Pedro Almodovar