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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.

Bernardo Bertolucci

I don’t film messages. I let the post office take care of those.
BERNARDO BERTOLUCCI

Care Message Office
Having no children had been a kind of choice up to the moment when, from a choice, it became a sadness.
BERNARDO BERTOLUCCI

Children Choices Kind Sadness
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

Ahead Cinema Enriching Example Hollywood Imperialisytic
There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
BERNARDO BERTOLUCCI

Country Independent Interesting Person Playing
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

Cobbles Country Easy Everywhere Pavement
There’s no more film; now everything’s digital. I welcome this. It’s fantastic for me to have a new chance.
BERNARDO BERTOLUCCI

Chance Digital Welcome
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

Adult Children Hands Hearts Masturbating
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 Future Important People Sleep Tomorrow
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 Cocktail Important Mixture Music Result
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 BERTOLUCCI

Cameras Each Poem Reality Return Time
I’m no longer interested in making political films. There’s something old-fashioned about them.
BERNARDO BERTOLUCCI

People Political Reality
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

Authoritarian Children Feminist Moments People
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

Character Learning Privilege Reality Thinking
The problem in Hollywood is that they try to become the only kind of cinema in the world, okay?
BERNARDO BERTOLUCCI

Cinema Hollywood Only Past Trying Unique
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.
BERNARDO BERTOLUCCI

Father Normal Writing Young
You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
BERNARDO BERTOLUCCI

Soccer Thinking Women

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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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.

Related Topics

Popular Authors

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