I believe in the autobiographical concept only to the degree that I am able to put onto film all that's passing through my head at the moment of shooting.
I'll go on making films until I make one that pleases me from the first to the last frame. Then I'll quit.
My films have always had an element of immediate autobiography, in that I shoot any particular scene according to the mood I'm in that day, according to the little daily experiences I've had and am having - but I don't tell what has happened to me. I would like to do something more strictly autobiographical, but perhaps I never will, because it isn't interesting enough.
It isn't easy to understand the lives of people different from your own.
I'm not rich and maybe I'll never be rich. Money is useful - yes - but I don't worship it.
My films always leave me unsatisfied, since I've always worked under fairly disastrous conditions economically.
I dislike judging myself, but I will say I would be wealthy today if I had accepted all the films that have been offered to me with large sums of money. But I've always refused, in order to do what I felt like doing.
Fitzgerald said a very interesting thing in his diary; that human life proceeds from the good to the less good - that is, it's always worse as you go on. That's true.
Everyone has understood me in his own way. But I would have to understand myself first in order to judge - and so far, I haven't.
Life should be taken ironically; otherwise, it becomes a tragedy.
I never feel empty. I travel a lot and I think about other films.
I don't know whether I am ever bored. I never look at myself.
Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; and although the individual is what interests him most, we are very far apart. His individuals are very different from mine; his problems are different from mine - but he's a great director. So is Fellini, for that matter.
When I see a good film, it's like a whiplash. I run away, in order not to be influenced. Thus, the films I liked most are those I think least about.
Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.
Monica Vitti is astonishingly mobile. Few actresses have such mobile features. She has her own personal and original way of acting.
I've always played down the drama in my films. In my main scenes, there's never an opportunity for an actor to let go of everything he's got inside. I always try to tone down the acting, because my stories demand it, to the point where I might change a script so that an actor has no opportunity to come out well.
I forget about the relationship between myself and any actress when working with her.
Actors are always a little high at work. Acting is their drug. So when you put the brakes on, they're naturally a little disappointed.
Method actors are absolutely terrible. They want to direct themselves, and it's a disaster.
It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.
Sometimes actors' mistakes give me ideas I can use, because mistakes are always sincere, absolutely sincere.
I want an actor to try to give me what I ask in the best and most exact way possible. He mustn't try to find out more, because then there's the danger that he'll become his own director.
If an actor tries to understand too much, he will act in an intellectual and unnatural manner.
It's obvious that I must explain what I want from an actor, but I don't want to discuss everything I ask him to do, because often my requests are completely instinctive and there are things I can't explain. It's like painting: You don't know why you use pink instead of blue. You simply feel that's how it should be - pink. Then the phone rings and you answer it. When you come back, you don't want pink anymore and you use blue - without knowing why. You can't help it; that's just the way it is.
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