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.
BERNARDO BERTOLUCCII think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.
More Bernardo Bertolucci Quotes
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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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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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I’m no longer interested in making political films. There’s something old-fashioned about them.
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If New York is the Big Apple, tonight Hollywood is the Big Nipple.
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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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Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
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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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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 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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There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
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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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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 am still against any kind of censorship. It’s a subject in my life that has been very important.
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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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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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A name? Oh, Jesus Christ. Ah, God, I’ve been called by a million names all my life. I don’t want a name. I’m better off with a grunt or a groan for a name.
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I don’t film messages. I let the post office take care of those.
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I left the ending ambiguous, because that is the way life is.
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A dolly move is a moral commitment.
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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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You live day by day. You can’t build your life.
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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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After many, many years, I fell out of love with politics. It’s not something I like but it’s the truth.
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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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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 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.
BERNARDO BERTOLUCCI