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. 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.

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. There was a sense of future that was the result of the mixture of politics, cinema, music, the first joints. And the movies were a very important part of that cocktail.

The movies I like are always movies where cinema is reinvented like if it was the beginning of cinema.

Having no children had been a kind of choice up to the moment when, from a choice, it became a sadness.

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.

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

I left the ending ambiguous, because that is the way life is.