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 BERTOLUCCII 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.
More Bernardo Bertolucci Quotes
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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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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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New York has always embraced me.
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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.
BERNARDO BERTOLUCCI -
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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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 -
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’m no longer interested in making political films. There’s something old-fashioned about them.
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 -
Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
BERNARDO BERTOLUCCI -
I am still against any kind of censorship. It’s a subject in my life that has been very important.
BERNARDO BERTOLUCCI -
A monoculture is not only Hollywood, but Americans trying to export democracy.
BERNARDO BERTOLUCCI -
If you mention any ideological thing about shooting Last Tango in Paris, I was thinking I was doing a political film.
BERNARDO BERTOLUCCI -
I think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.
BERNARDO BERTOLUCCI -
There’s no more film; now everything’s digital. I welcome this. It’s fantastic for me to have a new chance.
BERNARDO BERTOLUCCI -
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 -
I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.
BERNARDO BERTOLUCCI -
You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
BERNARDO BERTOLUCCI -
Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.
BERNARDO BERTOLUCCI -
Every film I have made has corresponded to a very special moment of my life. I like to think that if someone wanted to reconstruct the story of my life, they can just see my movies and know what I have been through.
BERNARDO BERTOLUCCI -
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
BERNARDO BERTOLUCCI -
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 -
The problem in Hollywood is that they try to become the only kind of cinema in the world, okay?
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I left the ending ambiguous, because that is the way life is.
BERNARDO BERTOLUCCI -
A dolly move is a moral commitment.
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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