This is something that I dream about: to live films, to arrive at the point at which one can live for films, can think cinematographically, eat cinematographically, sleep cinematographically, as a poet, a painter, lives, eats, sleeps painting.
I don't film messages. I let the post office take care of those.
I don't think you can in any way export culture with guns or tanks.
A monoculture is not only Hollywood, but Americans trying to export democracy.
I left the ending ambiguous, because that is the way life is.
A dolly move is a moral commitment.
Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.
I remember being young in the 1960s... we had a great sense of the future, a great big hope. This is what is missing in the youth today. This being able to dream and to change the world.
Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
Every film I have made has corresponded to a very special moment of my life. I like to think that if someone wanted to reconstruct the story of my life, they can just see my movies and know what I have been through.
Pornography is not in the hands of the child who discovers his sexuality by masturbating, but in the heart of the adult who slaps him.
English dialogues are always just what you need and nothing more - like something out of Hemingway. In Italian and in French, dialogues are always theatrical, literary. You can do more with it.
As a loyal believer in the Auteur Theory I first felt editing was but the logical consequence of the way in which one shoots. But, what I learned is that it is actually another writing.
I am still against any kind of censorship. It's a subject in my life that has been very important.
I am in love with the idea of doing a movie in 3D. I think 3D would be great in a kind of realistic normal story without throwing objects to the camera, but using the 3D on the emotions in an intimate story.
You live day by day. You can't build your life.
To explore technology for me is something that I have to do. Otherwise, I feel completely left in the back... abandoned.
There's no more film; now everything's digital. I welcome this. It's fantastic for me to have a new chance.
I'm no longer interested in making political films. There's something old-fashioned about them. Young people now don't care for politics. It isn't present in life as it used to be. And increasingly I like films which reflect present-day reality.
I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.
I don't see my movies. I think it's healthier and safer to keep a bit of distance. I'm afraid to be disappointed.
I haven't made a movie for a while, but I've watched a lot. It's my major waste of time. I like to work, but also to be waiting for work.
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