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 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.
A dolly move is a moral commitment.
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.
If you mention any ideological thing about shooting Last Tango in Paris, I was thinking I was doing a political film.
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.
There's no more film; now everything's digital. I welcome this. It's fantastic for me to have a new chance.
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