It's untrue to say the colors I use are not those of reality. They are real: The red I use is red; the green, green; blue, blue; and yellow, yellow. It's a matter of arranging them differently from the way I find them, but they are always real colors. So it's not true that when I tint a road or a wall, they become unreal. They stay real, though colored differently for my scene.

It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.

I would throw out the sense of nation, "good breeding," certain forms and ceremonies that govern relationships - perhaps even jealousy. We're not aware of all of them yet, though we suffer from them. And they mislead us not only about ethics but also about aesthetics.

Sometimes actors' mistakes give me ideas I can use, because mistakes are always sincere, absolutely sincere.

Life should be taken ironically; otherwise, it becomes a tragedy.

When you work on a character, you form in your mind an image of what he ought to look like. Then you go and find one who resembles him.

When I see a good film, it's like a whiplash. I run away, in order not to be influenced. Thus, the films I liked most are those I think least about.