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.
BERNARDO BERTOLUCCII am still against any kind of censorship. It’s a subject in my life that has been very important.
More Bernardo Bertolucci Quotes
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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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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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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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New York has always embraced me.
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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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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.
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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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The problem in Hollywood is that they try to become the only kind of cinema in the world, okay?
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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 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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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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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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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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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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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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You live day by day. You can’t build your life.
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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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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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A dolly move is a moral commitment.
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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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The movies I like are always movies where cinema is reinvented like if it was the beginning of cinema.
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Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.
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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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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.
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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 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 BERTOLUCCI