I think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.
BERNARDO BERTOLUCCIFor 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.
More Bernardo Bertolucci Quotes
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If New York is the Big Apple, tonight Hollywood is the Big Nipple.
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You live day by day. You can’t build your life.
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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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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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New York has always embraced me.
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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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I’m no longer interested in making political films. There’s something old-fashioned about them.
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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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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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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.
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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.
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A monoculture is not only Hollywood, but Americans trying to export democracy.
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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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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 like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.
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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.
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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.
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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.
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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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The movies I like are always movies where cinema is reinvented like if it was the beginning of cinema.
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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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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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You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
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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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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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Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.
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