I think we're [me and my son] different. He plans, organizes and intellectualizes more than I do. It wasn't until I worked with Federico Fellini that I understood what my problem was.

I never think of this business as fun. I don't know why. I think I've actually said something about it being fun, but I don't think of it that way. It's not fun, doing it. It's joyful, it's passionate, it's rewarding, it's a pursuit of truth, but I don't think of it as fun. It's not a game.

Fundamentally, people are suckers for the truth.

When you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.

I have never planned anything. I have been doing this job for over 50 years. I have been paid to work with some wonderful people and it has been a huge gift, to me.

I have no idea. I get involved because I think there's value in the project and because I love the character that is presented to me. I love the opportunity to examine a character, and to have him examine me, live inside me and move my hands. I love that. It's irresistible. It's a drug.

When the camera starts to roll, there is something of death about it.