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.
BERNARDO BERTOLUCCISometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.
More Bernardo Bertolucci Quotes
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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 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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You live day by day. You can’t build your life.
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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 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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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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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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If New York is the Big Apple, tonight Hollywood is the Big Nipple.
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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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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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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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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’m no longer interested in making political films. There’s something old-fashioned about them.
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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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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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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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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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The problem in Hollywood is that they try to become the only kind of cinema in the world, okay?
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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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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 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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You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
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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 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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A monoculture is not only Hollywood, but Americans trying to export democracy.
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