The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.

A film that can be described in words is not really a film.

When you work on a character, you form in your mind an image of what he ought to look like. Then you go and find one who resembles him.

The women I like, no matter what nationality, all seem to have more or less the same qualities. Perhaps this is because one goes looking for them - that is, you like that type of woman and then look for her.

When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.

One of the problems of the future world will be the use of leisure time. How will it be filled up? Maybe drugs will be distributed free of charge by the government.

I've never had a method of working. I change according to circumstances; I don't employ any particular technique or style. I make films instinctively, more with my belly than with my brain.