“A dolly move is a moral commitment.”

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.

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.

I left the ending ambiguous, because that is the way life is.

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.

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.

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.

To explore technology for me is something that I have to do. Otherwise, I feel completely left in the back… abandoned.

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.

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.

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!

If New York is the Big Apple, tonight Hollywood is the Big Nipple.

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.

Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.

I don’t film messages. I let the post office take care of those.

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.

I think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.