I am still against any kind of censorship. It's a subject in my life that has been very important.

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

You live day by day. You can't build your life.

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.

I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.

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.

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