“What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.”

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.

I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.

Commuting 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.

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.

I’m no longer interested in making political films. There’s something old-fashioned about them.

New York has always embraced me.

You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?

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.

A monoculture is not only Hollywood, but Americans trying to export democracy.

I didn’t go to the cinemas a lot as a kid.

Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.

People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people’s minds to lazy minds.

The Iranian government as a whole has no relationship with my films. They’re not particularly interested, perhaps this kind of cinema is not very interesting to them.

Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.

Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.

Good cinema is what we can believe and bad cinema is what we can’t believe. What you see and believe in is very much what I’m interested in.

I am not ready to fit into the mould of commercial cinema.