MORE CONSISTENTLY THAN EVER I WAS TRYING TO MAKE PEOPLE BELIEVE THAT CINEMA AS AN INSTRUMENT OF ART HAS ITS OWN POSSIBILITIES WHICH ARE EQUAL TO THOSE OF PROSE. I WANTED TO DEMONSTRATE HOW CINEMA IS ABLE TO OBSERVE LIFE, WITHOUT INTERFERING, CRUDELY OR OBVIOUSLY, WITH ITS CONTINUITY. FOR THAT IS WHERE I SEE THE POETIC ESSENCE OF CINEMA.

When less than everything has been said about a subject, you can still think on further. The alternative is for the audience to be presented with a final deduction (...) no effort on their part. What can it mean to them when they have not shared with the author the misery and joy of bringing an image into being?

Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.

Becoming an artist does not merely mean learning something, acquiring professional techniques and methods. Indeed, as someone has said, in order to write well you have to forget the grammar.

My purpose is to make films that will help people to live, even if they sometimes cause unhappiness.

Being silent for a while is good. Words can't really express a person's emotions.

ALL ART, OF COURSE, IS INTELLECTUAL, BUT FOR ME, ALL THE ARTS, AND CINEMA EVEN MORE SO, MUST ABOVE ALL BE EMOTIONAL AND ACT UPON THE HEART.