There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
BERNARDO BERTOLUCCITo explore technology for me is something that I have to do. Otherwise, I feel completely left in the back… abandoned.
More Bernardo Bertolucci Quotes
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New York has always embraced me.
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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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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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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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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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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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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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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 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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I think that what I learned then, I didn’t know I was learning. I just knew that I was very privileged to see somebody who was a writer, a great poet, and very smart-faced. Suddenly Pasolini becomes a director, so he has to invent cinema.
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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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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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Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
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