I am still against any kind of censorship. It’s a subject in my life that has been very important.
BERNARDO BERTOLUCCIPornography is not in the hands of the child who discovers his sexuality by masturbating, but in the heart of the adult who slaps him.
More Bernardo Bertolucci Quotes
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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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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.
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A dolly move is a moral commitment.
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If New York is the Big Apple, tonight Hollywood is the Big Nipple.
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I left the ending ambiguous, because that is the way life is.
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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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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 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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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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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’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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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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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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New York has always embraced me.
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You live day by day. You can’t build your life.
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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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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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You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
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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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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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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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There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
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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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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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