Roy Andersson

[on the motivation behind A Pigeon Sat on a Branch Reflecting on Existence] In (Bruegel's) painting, Hunters in the Snow, the birds appear to be speculating: 'What are the humans doing down there? Why are they so busy?'... A Pigeon Sat on a Branch consists of a bird's panoramic view of the human condition, in which the bird not only reflects on human existence but also worries deeply about it, as I do myself. The pigeon is astonished that humans do not see an approaching apocalypse, though it is in man's ability to avoid destroying the future for themselves. A Pigeon Sat on a Branch shows the looming apocalypse and offers the possibility to believe in our capacity to avoid it. Show less «

[on his mission as an artist] ...the small human being... (who) symbolises all of us. I'm trying to show what it's like to be human and to be alive. Show less «

I'm trying to show we have to care for the little we have left. I want to show the vulnerability, and the weakness we carry. Show less «

I was going to be an author, but I saw so many good movies.

[on the meaning behind A Pigeon Sat on a Branch Reflecting on Existence] The tension in existing between the banal and the serious; the wide spectrum of life, of existence. For me, there are three themes that are the most important. One is the lack of empathy, which is a very bad thing - especially nowadays - as it shows an increasing lack of respect. Vulnerability is also one of my themes. I am so sad if I see vulnerable people being humiliated. Humiliation is also a theme that preoccupies me. Show less «

[on his passion for making films] There are some subjects that I'm dealing with all the time. The vulnerability of the human being. Humiliation, when people humiliate each other and when they humiliate themselves. Show less «

[on the wide shot] I think that the wide shot tells a lot about the human being that a close-up can't. About their place in the world. The wide shot defines the human being more than the close-up because, for example, the room where the person is tells about his tastes, his life. Even if it's not home, you can read the history of a person better in a wide shot. When you read this wide shot, there are so many elements that make the picture more tragic. Show less «

[on lightening in cinema] Nowadays I prefer lighting without shadows. There should not be a possibility for people to hide. They should be seen. They should be illuminated all the time. That's what I mean when I say "light without mercy." You make the people, the human beings in the movie, very naked. Show less «

[on audience] The audience should not find control over what they've seen. They should not feel comfortable. Well, they should be comfortable in the sense that it should be nice for them to sit and watch the movie, but they should not be very sure of what it's about. Is it humorous or tragic? In my opinion, in my films a larger portion is comedy than tragedy. But I know that many people think the contrary. I prefer comedy, but not a comedy that very easily read. As I said before, you shouldn't be too comfortable or sure of where you are. But of course the comic side of our existence is greater than the tragic side. There's more comedy than tragedy in life. But it depends on how you see it. Show less «

I'm one for solidarity. A society where one shares, and feels responsibility towards others. Unfortunately, we've had a period where to look after one another is seen as old-fashioned. This is the path Sweden has taken politically. But it's evident that it hasn't worked out. It is a painful insight, which I think people will start to realise more and more. Show less «