I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.

New York has always embraced me.

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.

If you mention any ideological thing about shooting Last Tango in Paris, I was thinking I was doing a political film.

The life before '68 was very different from the life after '68. Before '68, our days were full of authoritarian moments. There were authorities everywhere. In fact, the movement of '68 was young people against their authorities, children against their parents. And that remained. The most important thing of all, the thing that lasted, was the first feminist movement and the position of women in society. That completely changed and that was very, very important.

English dialogues are always just what you need and nothing more - like something out of Hemingway. In Italian and in French, dialogues are always theatrical, literary. You can do more with it.

To explore technology for me is something that I have to do. Otherwise, I feel completely left in the back... abandoned.