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.
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.
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.
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.
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.
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.
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.
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.
Commuting in a wheelchair is not easy. I live in a very old part of Rome. These cobbles everywhere... terrible! In London, it is the same. Every pavement is uneven.
I was writing poems when I was young, you know, because my father was a poet, so it was absolutely normal to follow my father.
New York has always embraced me.
If you mention any ideological thing about shooting Last Tango in Paris, I was thinking I was doing a political film.
A name? Oh, Jesus Christ. Ah, God, I've been called by a million names all my life. I don't want a name. I'm better off with a grunt or a groan for a name.
Having no children had been a kind of choice up to the moment when, from a choice, it became a sadness.
I like to be in a huis clos, as the French say - in one place. Its something that in general can create a bit of claustrophobia. But for me, claustrophobia becomes almost immediately claustrophilia. I love it!
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.
I think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.
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