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 scene has to have a rhythm of its own, a structure of its own.

I meant exactly what I said: that we are saddled with a culture that hasn't advanced as far as science.

The greatest danger for those working in the cinema is the extraordinary possibility it offers for lying.

I began taking liberties a long time ago; now it is standard practice for most directors to ignore the rules.

If an actor tries to understand too much, he will act in an intellectual and unnatural manner.

That love is a conflict seems to me obvious and natural. There isn't a single worthwhile work in world literature based on love that is only about the conquest of happiness, the effort to arrive at what we call love. It's the struggle that has always interested those who produce works of art - literature, cinema or poetry.