We saw what happens with Bolsheviks. It was another catastrophe. I don't have the solution. The moviemaker can ask questions but not give solutions.

Essentially, filmmakers have to be free and not directed by power or politicians.

I decided to go to the cinema school because I thought it was a new sort of media. Nowadays, it's not anymore, but in the '50s, cinema had a half century of age. Today it's more than one century. I thought it was a new media, a new way of telling stories.

Every morning you have the economic news from all over the world, from television, radio, the Internet, and an hour later the news changes and the numbers change. People run fast from one place to another, which is very risky because they don't have enough time to think.

[Akiro] Kurosawa, no doubt, was a big influence. Movies sometimes more than directors have influenced me: The Grapes of Wrath, by John Ford, was an extraordinary discovery. Sergei Eisenstein, of course. Later on, [Ingmar] Bergman.

I saw money becoming more and more important everywhere. It's one of the most abstract and important inventions by human beings. At the same time, money is capable of extraordinary corruption in every kind of relationship. I tried to see how and why, more and more, money is becoming a religion.

Technology is an extension of our hands and our feet, not our spirit.