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.
BERNARDO BERTOLUCCICommuting 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.
More Bernardo Bertolucci Quotes
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A dolly move is a moral commitment.
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I am still against any kind of censorship. It’s a subject in my life that has been very important.
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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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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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Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.
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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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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.
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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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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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A monoculture is not only Hollywood, but Americans trying to export democracy.
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The movies I like are always movies where cinema is reinvented like if it was the beginning of cinema.
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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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You live day by day. You can’t build your life.
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The life before ’68 was very different from the life after ’68. Before ’68, our days were full of authoritarian moments. There were authorities everywhere. In fact, the movement of ’68 was young people against their authorities, children against their parents. And that remained.
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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.
BERNARDO BERTOLUCCI