Bernardo Bertolucci Quotes
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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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I don't see my movies. When you ask me about one of my movies, it just goes in my memory because maybe sometimes I confuse one for another. I think all movies are like sequences, which is the body of my work.
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I make movies in order to make things understood, not to be shocking.
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I started very, very young to make movies - I was 21. And at the age of 27, 28, I'd done already three movies.
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When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.
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I like being able to see an innocence in people. I see a lot of beauty in youth. Young people are in progress. Their faces and bodies and minds are constantly changing. It's exciting to capture that on film.
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I lived in a kind of dream of communism.
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Although some people call me anti-feminist, I know I wasn't because Germaine Greer supported me.
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I am still against any kind of censorship. It's a subject in my life that has been very important.
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What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. 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.
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I am in love with the idea of doing a movie in 3D. I think 3D would be great in a kind of realistic normal story without throwing objects to the camera, but using the 3D on the emotions in an intimate story.
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A monoculture is not only Hollywood, but Americans trying to export democracy.
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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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If I don't fall in love with my characters, I cannot shoot.
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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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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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Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.
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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 American filmmakers, the Oscars is like a mystic thing. For me, it was being in a mirror of my dreams when I was dreaming of Hollywood when I was an adolescent.
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New York has always embraced me.