You know, in ten years you’re gonna be playing soccer with your tits, what do you think of that?
BERNARDO BERTOLUCCII am still against any kind of censorship. It’s a subject in my life that has been very important.
More Bernardo Bertolucci Quotes
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A dolly move is a moral commitment.
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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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Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
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Young people now don’t care for politics. It isn’t present in life as it used to be. And increasingly I like films which reflect present-day reality.
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New York has always embraced me.
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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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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 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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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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I don’t film messages. I let the post office take care of those.
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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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There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
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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.
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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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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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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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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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If New York is the Big Apple, tonight Hollywood is the Big Nipple.
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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 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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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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Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.
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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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I’m no longer interested in making political films. There’s something old-fashioned about them.
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After many, many years, I fell out of love with politics. It’s not something I like but it’s the truth.
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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.
BERNARDO BERTOLUCCI