A Quote by Francois Truffaut

There's no such thing as an anti-war film. — © Francois Truffaut
There's no such thing as an anti-war film.
I'm not anti-Semitic. My Gospels are not anti-Semitic. I've shown it to many Jews and they're like, it's not anti-Semitic. It's interesting that the people who say it's anti-Semitic say that before they saw the film, and they said the same thing after they saw the film.
Over the years, my marks on paper have landed me in all sorts of courts and controversies - I have been comprehensively labelled; anti-this and anti-that, anti-social, anti-football, anti-woman, anti-gay, anti-Semitic, anti-science, anti-republican, anti-American, anti-Australian - to recall just an armful of the antis.
I think if you just made a film that says, 'This is anti-war,' and you had to spend two hours explaining that... you don't like war? Wow, that's original. Know what I mean?
Here's the thing. Just because you're pro-troops doesn't mean you're pro-war. And just because you're anti-war doesn't mean you're anti-troops. Just because you don't support the war people think you are anti-troops and you are a bad guy.
Every good war film, if you want to use that phrase - I don't think it's a good phrase, but if you want to use that phrase - every good film, a first-rate film about war, is an anti-war movie.
The Obama campaign decimated the newly regenerated anti-war movement in 2008. And he definitely isn't anti-war.
People see citizens who are anti-war anti-American or anti-patriotic and that's so wrong.
When people say 'Lysistrata' has always been seen as an anti-war play, what's interesting is to not make it an anti-war play, because I actually think there are important times to go to war in this world. That's just the reality. But what's interesting is the not caring.
E. Klimov's 'Come and See,' about partisans fighting the Germans in Byelorussia, is the greatest anti-war film ever made.
In the end anti-black, anti-female, and all forms of discrimination are equivalent to the same thing: anti-humanism.
The Road To Serfdom was written during WWII, and basically it's an anti-Nazi, anti-communist thing, but also it's an anti-Conservative and anti-Labor-party thing aimed at the British. He was an Austrian, writing in Britain. And I feel like now, I guess, everybody pays lip service to libertarian - and, indeed, many conservative - ideas, and yet they keep moving forward with an increasingly bureaucratic state. It shows itself in all sorts of little ways.
When I got lucky enough to be successful as an actor, and I got involved in the anti-war stuff and gay rights movement, there was always this thing eating at me about the death penalty, because that was, to me, the bottom line. That was the anti-life - by definition - position, and I didn't understand why we did it.
When he emerged Lou Dobbs the populist, he was so hard to peg. A mishmash of contradictions: anti-outsourcing, anti-globalization, pro-international-trade, pro-free-enterprise, anti-corporatism, pro-choice, pro-Second Amendment, pro-gay-marriage, pro-gays-serving-openly-in-the-military, pro-military, anti-war-in-Iraq-and-Afghanistan.
I come from a very left wing Socialist family, anti-war and anti-empire.
Way too many people believe Republicans are anti-immigrant, anti-woman, anti-science, anti-gay, anti-worker.
A war film can be propaganda and they're very valuable as propaganda, as we realized in Britain in the Second World War. Film as propaganda is a very valuable tool. It can also demonize, which is the dangerous side of a war film as propaganda. But there are war films that are not propaganda. It's just saying 'This is what it's like.' For 99 percent of us we don't know what it's like. We have no idea. So to reveal that to the audience is powerful.
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