New York has always embraced me.
BERNARDO BERTOLUCCIHaving no children had been a kind of choice up to the moment when, from a choice, it became a sadness.
More Bernardo Bertolucci Quotes
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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.
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I am in love with the idea of doing a movie in 3D. I think 3D would be great for the story I want to do, in a realistic, normal story, using 3D on the emotions in a kind of intimate story.
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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.
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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.
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Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
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What I was talking about was, of course, very autobiographical – ’68 was the moment when all the young people were incredibly excited, because when we were going to sleep, we knew we would wake up not tomorrow, but in the future.
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The problem in Hollywood is that they try to become the only kind of cinema in the world, okay?
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A dolly move is a moral commitment.
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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.
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The most important thing of all, the thing that lasted, was the first feminist movement and the position of women in society. That completely changed and that was very, very important.
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I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.
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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.
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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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There was a sense of future that was the result of the mixture of politics, cinema, music, the first joints. And the movies were a very important part of that cocktail.
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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.
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If you mention any ideological thing about shooting Last Tango in Paris, I was thinking I was doing a political film.
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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.
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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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For example, Jewish directors coming from Germany or Austria and enriching Hollywood. In 15, 20 years, Hollywood became imperialistic. Cinema goes ahead when it is marriaged by other culture. Otherwise, it turns on itself.
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I like to be in a huis clos, as the French say – in one place. It’s something that in general can create a bit of claustrophobia. But for me, claustrophobia becomes almost immediately claustrophilia. I love it!
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I’m no longer interested in making political films. There’s something old-fashioned about them.
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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.
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To explore technology for me is something that I have to do. Otherwise, I feel completely left in the back… abandoned.
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You live day by day. You can’t build your life.
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I think that Hollywood should also be influenced by directors from Hong Kong. You see how Quentin Tarantino is really the example of how you can develop, and how you can go ahead if you accept the existence of different cinematic cultures.
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A monoculture is not only Hollywood, but Americans trying to export democracy.
BERNARDO BERTOLUCCI