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.
BERNARDO BERTOLUCCIYoung 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.
More Bernardo Bertolucci Quotes
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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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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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Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
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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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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 dolly move is a moral commitment.
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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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The problem in Hollywood is that they try to become the only kind of cinema in the world, okay?
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I don’t film messages. I let the post office take care of those.
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If New York is the Big Apple, tonight Hollywood is the Big Nipple.
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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution.
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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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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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Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.
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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.
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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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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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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 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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There you have Quentin playing with kung-fu. That’s why the independents are the most interesting.
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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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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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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.
BERNARDO BERTOLUCCI