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.
BERNARDO BERTOLUCCIEvery 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.
More Bernardo Bertolucci Quotes
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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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The movies I like are always movies where cinema is reinvented like if it was the beginning of cinema.
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You live day by day. You can’t build your life.
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New York has always embraced me.
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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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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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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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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 don’t film messages. I let the post office take care of those.
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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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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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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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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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A dolly move is a moral commitment.
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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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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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There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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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 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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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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You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
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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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Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
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I think that Hollywood should also be influenced by directors from Hong Kong. You see how Quentin Tarantino is really the example of how you can develop, and how you can go ahead if you accept the existence of different cinematic cultures.
BERNARDO BERTOLUCCI