I think that what I learned then, I didn't know I was learning. I just knew that I was very privileged to see somebody who was a writer, a great poet, and very smart-faced. Suddenly Pasolini becomes a director, so he has to invent cinema. It was like watching the invention of cinema. But I found out that Pasolini taught me a lot. It was, especially, the kind of respect that he had for reality. He had kind of epiphanies in his movies, like when a moment becomes full of grace, and it is like as if it was the most important moment in the life of a character.

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.

There's no more film; now everything's digital. I welcome this. It's fantastic for me to have a new chance.

Sometimes I think that I understand my movies after I make them. Really. I go very often off of instinct.

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.

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.

Film students should stay as far away from film schools and film teachers as possible. The only school for the cinema is the cinema.