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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 Bertolucci

I left the ending ambiguous, because that is the way life is.
BERNARDO BERTOLUCCI

Ambiguous Ending Life Way
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
BERNARDO BERTOLUCCI

Cinema Director Dreamers Revolution
I’m no longer interested in making political films. There’s something old-fashioned about them.
BERNARDO BERTOLUCCI

People Political Reality
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
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.
BERNARDO BERTOLUCCI

Authoritarian Children Feminist Moments People
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.
BERNARDO BERTOLUCCI

Father Normal Writing Young
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
You live day by day. You can’t build your life.
BERNARDO BERTOLUCCI

Build Day Life Live
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
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.
BERNARDO BERTOLUCCI

Cinema Country Seduced Style Thinking Vague
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
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.
BERNARDO BERTOLUCCI

Mademwatch Time Waiting Waste Work
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
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
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.
BERNARDO BERTOLUCCI

Ahead Cinema Enriching Example Hollywood Imperialisytic

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.

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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.

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