You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
BERNARDO BERTOLUCCIYoung 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.
More Bernardo Bertolucci Quotes
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I left the ending ambiguous, because that is the way life is.
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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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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 am still against any kind of censorship. It’s a subject in my life that has been very important.
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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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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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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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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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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.
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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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New York has always embraced me.
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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 don’t film messages. I let the post office take care of those.
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If New York is the Big Apple, tonight Hollywood is the Big Nipple.
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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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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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Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
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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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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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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 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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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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You live day by day. You can’t build your life.
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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.
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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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A monoculture is not only Hollywood, but Americans trying to export democracy.
BERNARDO BERTOLUCCI