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.

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.

Every film I have made has corresponded to a very special moment of my life. I like to think that if someone wanted to reconstruct the story of my life, they can just see my movies and know what I have been through.

The problem in Hollywood is that they try to become the only kind of cinema in the world, okay? The imposition everywhere of a unique culture, which is Hollywood culture, and a unique way of life, which is the American way of life. But Hollywood has forgotten that, in the past, what made Hollywood great and what made it go ahead was the fact that Hollywood was fed with, for example, Jewish directors coming from Germany or Austria and enriching Hollywood. In 15, 20 years, Hollywood became imperialistic. Cinema goes ahead when it is marriaged by other culture. Otherwise, it turns on itself.

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

I don't see my movies. I think it's healthier and safer to keep a bit of distance. I'm afraid to be disappointed.

New York has always embraced me.