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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.

Bernardo Bertolucci

Related Topics

Authoritarian Feminist

I’m no longer interested in making political films. There’s something old-fashioned about them.

BERNARDO BERTOLUCCI

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

Political
A monoculture is not only Hollywood, but Americans trying to export democracy.

BERNARDO BERTOLUCCI

A monoculture is not only Hollywood, but Americans trying to export democracy.
BERNARDO BERTOLUCCI

Trying
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!
BERNARDO BERTOLUCCI

Bits Claustrophobia Immediately Something
Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.

BERNARDO BERTOLUCCI

Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
BERNARDO BERTOLUCCI

Message Sometimes Sync
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 Seduced
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.
BERNARDO BERTOLUCCI

Cinema Mixture
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.
BERNARDO BERTOLUCCI

Ahead Culture Develo
Bernardo Bertolucci
BERNARDO BERTOLUCCI

Cinema Director
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
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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Political Shooting
A dolly move is a moral commitment.
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Dolly Moving
I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.
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Based Cameras Eye Two
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

Jesus Million Names Self
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

Italian More Needs Nothing
I think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.
BERNARDO BERTOLUCCI

Phases
I think that what I learned then, I didn’t know I was learning. I just knew that I was very privileged to see somebody who was a writer, a great poet, and very smart-faced. Suddenly Pasolini becomes a director, so he has to invent cinema.
BERNARDO BERTOLUCCI