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.
BERNARDO BERTOLUCCIAs 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.
More Bernardo Bertolucci Quotes
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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 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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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 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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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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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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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.
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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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There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
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I’m no longer interested in making political films. There’s something old-fashioned about them.
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I was writing poems when I was young, you know, because my father was a poet, so it was absolutely normal to follow my father.
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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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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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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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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
BERNARDO BERTOLUCCI