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 BERTOLUCCII don’t see my movies. I think it’s healthier and safer to keep a bit of distance. I’m afraid to be disappointed.
More Bernardo Bertolucci Quotes
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Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
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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 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.
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If New York is the Big Apple, tonight Hollywood is the Big Nipple.
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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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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.
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Having no children had been a kind of choice up to the moment when, from a choice, it became a sadness.
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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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There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
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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.
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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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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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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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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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I don’t film messages. I let the post office take care of those.
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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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The movies I like are always movies where cinema is reinvented like if it was the beginning of cinema.
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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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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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A dolly move is a moral commitment.
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I left the ending ambiguous, because that is the way life is.
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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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You live day by day. You can’t build your life.
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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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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.
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