Jodorowsky's Dune

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What is the goal of the life?

It's to create yourself a soul.

For me, movies are an art...

more than an industry.

And it's the search of the human soul...

as painting, as literature, as poetry.

Movies are that for me.

I wanted to make a film...

that would give the people

who took LSD at that time...

the hallucinations that you get with

that drug, but without hallucinating.

I did not want LSD to be taken,

I wanted to fabricate the drug's effects.

This film was going to change

the public's perceptions.

My ambition with Dune was tremendous.

So, what I wanted

was to create a prophet.

I want to create a prophet...

to change the young minds

of all the world.

For me, Dune will be

the coming of a god.

Artistical, cinematographical god.

For me, it was not to make a picture.

It was something deeper.

I wanted to make something sacred...

free, with new perspective.

Open the mind!

Because I feel, in that time,

myself, inside a prison.

My ego, my intellect,

I want to open!

And I start the fight to make Dune.

You needed a touch of madness to do it.

You can't have a masterpiece

without madness.

Pink Floyd? Dali...

or Orson Welles or others!

Maybe Dune had too much madness?

But a movie that doesn't have

a bit of madness...

is not going to conquer the whole world.

I don't think that in the

history of cinema...

there was ever a film that was taken

that far, only to end up not being made.

To become a different film,

since a film was made...

that had nothing to do with those

two and a half years of work.

In the beginning, I was making theater.

In Mexico, I make 100 theater plays.

In 10 years,

I make the avant garde theater.

Ionesco, Beckett, Strindberg.

Modern adaptations of Shakespeare,

I do.

One day I will make a picture.

When I came to pictures...

I came like a virgin.

Without to know technical movement.

I didn't know lens, the number.

I didn't know.

We shoot Fando Y Lis, hiding of unions.

In Mexico,

a young director cannot make picture...

without the permission

of the old director unions.

I say, "What I need to take

the permission to make art?"

Artists need to be free! I do my picture!

Then was a great scandal later, eh?

Because I broke all the unions, I did it!

I was opening the mind of the industry.

I was exposed to it

in the underground cinema in New York.

And after that, we had the courage

to attempt to distribute it in France...

and it was an incredible success for

this movie that was quite revolutionary...

and a natural friendship was born

between Alejandro and me.

Thanks to the success of El Topo...

I got one million dollars

to make The Holy Mountain.

I did whatever I wanted.

I didn't have a producer...

no critic, no one to mess with me.

I did what I wanted

and it was The How Mountain.

I gave the movie to Michel Seydoux

in France.

And, oh, surprise, in Europe it attracted

a great number of people...

it was playing openly.

In Italy that year, it was the

number two movie behind James Bond.

The Holy Mountain was incredible.

So my ambition grew.

Michel Seydoux called me from Paris

and say to me:

"Holy Mountain is a success.

I want to make a new picture with you.

Do whatever you want!"

I have never made movies

or transactions...

unless there was something

more to them.

A relationship between human beings

is what makes the difference.

He said,

"I want to produce you anything.

What do you want to do?"

I say, "Dune!"

And he say, "Yes."

Why?

Because the book was the most beautiful

science-fiction book.

It was the bible of science fiction

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