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.
BERNARDO BERTOLUCCIWhat 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.
More Bernardo Bertolucci Quotes
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A dolly move is a moral commitment.
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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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Having no children had been a kind of choice up to the moment when, from a choice, it became a sadness.
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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 don’t see my movies. I think it’s healthier and safer to keep a bit of distance. I’m afraid to be disappointed.
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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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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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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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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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I’m no longer interested in making political films. There’s something old-fashioned about them.
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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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You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
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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.
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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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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.
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If New York is the Big Apple, tonight Hollywood is the Big Nipple.
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Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.
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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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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.
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A monoculture is not only Hollywood, but Americans trying to export democracy.
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I don’t film messages. I let the post office take care of those.
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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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I haven’t made a movie for a while, but I’ve watched a lot. It’s my major waste of time. I like to work, but also to be waiting for work.
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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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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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After many, many years, I fell out of love with politics. It’s not something I like but it’s the truth.
BERNARDO BERTOLUCCI