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

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.

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.

After many, many years, I fell out of love with politics. It's not something I like but it's the truth.

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.

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.