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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.

Bernardo Bertolucci

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.
BERNARDO BERTOLUCCI

Cinema Completely Homage Love Movement Value
I’m no longer interested in making political films. There’s something old-fashioned about them.
BERNARDO BERTOLUCCI

People Political Reality
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
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
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.
BERNARDO BERTOLUCCI

Autobiographical Future Important People Sleep Tomorrow
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
To explore technology for me is something that I have to do. Otherwise, I feel completely left in the back… abandoned.
BERNARDO BERTOLUCCI

Abandoned Feels Technology
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
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
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.
BERNARDO BERTOLUCCI

Cobbles Country Easy Everywhere Pavement
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.
BERNARDO BERTOLUCCI

Cameras Each Poem Reality Return Time
I left the ending ambiguous, because that is the way life is.
BERNARDO BERTOLUCCI

Ambiguous Ending Life Way
If you mention any ideological thing about shooting Last Tango in Paris, I was thinking I was doing a political film.
BERNARDO BERTOLUCCI

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

Care Message Office
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!
BERNARDO BERTOLUCCI

Bits Claustrophobia Country Immediately Something

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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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.

Related Topics

Popular Authors

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