A film you can explain in words is not a real film.

A film you can explain in words is not a real film.

I never think in terms of alienation; it's the others who do. Alienation means one thing to Hegel, another to Marx and yet another to Freud; so it is not possible to give a single definition, one that will exhaust the subject. It is a question bordering on philosophy, and I'm not a philosopher nor a sociologist. My business is to tell stories, to narrate with images - nothing else. If I do make films about alienation - to use that word that is so ambiguous - they are about characters, not about me.

You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.

I've always dreamed of getting to know the women of other countries better. When I was a boy, I remember, I used to get angry at the thought that I did not know German or American or Swedish women.

It's untrue to say the colors I use are not those of reality. They are real: The red I use is red; the green, green; blue, blue; and yellow, yellow. It's a matter of arranging them differently from the way I find them, but they are always real colors. So it's not true that when I tint a road or a wall, they become unreal. They stay real, though colored differently for my scene.

Monica Vitti is astonishingly mobile. Few actresses have such mobile features. She has her own personal and original way of acting.