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.
BERNARDO BERTOLUCCIThe 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.
More Bernardo Bertolucci Quotes
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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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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
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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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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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I don’t film messages. I let the post office take care of those.
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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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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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You live day by day. You can’t build your life.
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I’m no longer interested in making political films. There’s something old-fashioned about them.
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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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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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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 am still against any kind of censorship. It’s a subject in my life that has been very important.
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English dialogues are always just what you need and nothing more – like something out of Hemingway. In Italian and in French, dialogues are always theatrical, literary. You can do more with it.
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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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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.
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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!
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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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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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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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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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You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
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For example, Jewish directors coming from Germany or Austria and enriching Hollywood. In 15, 20 years, Hollywood became imperialistic. Cinema goes ahead when it is marriaged by other culture. Otherwise, it turns on itself.
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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.
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