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I’m no longer interested in making political films. There’s something old-fashioned about them.

Bernardo Bertolucci

I don’t film messages. I let the post office take care of those.
BERNARDO BERTOLUCCI

Care Message Office
I’m no longer interested in making political films. There’s something old-fashioned about them.
BERNARDO BERTOLUCCI

People Political Reality
There’s no more film; now everything’s digital. I welcome this. It’s fantastic for me to have a new chance.
BERNARDO BERTOLUCCI

Chance Digital Welcome
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.
BERNARDO BERTOLUCCI

Better Jesus Life Million Names Self
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.
BERNARDO BERTOLUCCI

Country Dialogue Italian More Need Needs Nothing
Having no children had been a kind of choice up to the moment when, from a choice, it became a sadness.
BERNARDO BERTOLUCCI

Children Choices Kind Sadness
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.
BERNARDO BERTOLUCCI

Cinematographical Dream Painter Sleep Thinking
There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
BERNARDO BERTOLUCCI

Country Independent Interesting Person Playing
A dolly move is a moral commitment.
BERNARDO BERTOLUCCI

Commitment Dolly Moral Moving
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 BERTOLUCCI

Changed Feminist Important Society Thing Women
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
BERNARDO BERTOLUCCI

Cinema Director Dreamers Revolution
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

Cinema End Fascism Incredible Influence Kind
The problem in Hollywood is that they try to become the only kind of cinema in the world, okay?
BERNARDO BERTOLUCCI

Cinema Hollywood Only Past Trying Unique
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

Ahead Culture Develo Example Interesting Thinking
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.
BERNARDO BERTOLUCCI

Character Learning Privilege Reality Thinking
I think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.
BERNARDO BERTOLUCCI

Hollywood Phases Thinking

I’m no longer interested in making political films. There’s something old-fashioned about them.

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I’m no longer interested in making political films. There’s something old-fashioned about them.

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