Good values are easier caught than taught.
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.
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.
I was seduced by the nouvelle vague, because it was really reinventing everything. And the Italian cinema that one would see in the theaters in the late '50s, early '60s was Italian comedy, Italian style, which, to me, was like the end of neo-realism. I think cinema all over the world was influenced by it, which was Italy finding its freedom at the end of fascism, the end of the Nazi invasion. It was a kind of incredible energy. Then, late '50s, early '60s, the neo-realism lost its great energy and became comedy.
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.
So the thing I realized rather gradually - I must say starting about 20 years ago now that we know about computers and things - there's a possibility of a more general basis for rules to describe nature.
You can be a mama's boy, be a daddy's boy, but you can't be both. So you cling to the one you think you might lose.
I don't train for football; I train more for a lifestyle.
I have these realistic dreams and snap wide awake in the middle of the night. And for a while I can't work out what's real and what isn't. . . That kind of feeling. Do you have any idea what I'm saying?