I am still against any kind of censorship. It’s a subject in my life that has been very important.
BERNARDO BERTOLUCCICommuting 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.
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 like that 3D is based on the fact that you look with two eyes, so two cameras imitate 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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I think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.
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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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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 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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New York has always embraced me.
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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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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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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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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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Pornography is not in the hands of the child who discovers his sexuality by masturbating, but in the heart of the adult who slaps him.
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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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