We live in a society that compels us to go on using these concepts, and we no longer know what they mean.

I simply know what the actor's attitude should be and what he should say. He doesn't, because he can't see the relationship that begins to exist between his body and the other things in the scene.

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

A director is a man, therefore he has ideas; he is also an artist, therefore he has imagination. Whether they are good or bad, it seems to me that I have an abundance of stories to tell. And the things I see, the things that happen to me, continually renew the supply.

When I'm sure I have a story, I call my collaborators and we begin to discuss it. And we conduct studies of certain subjects to make sure of our terrain. Then, finally, in the last month or two, I write the story.

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.

Another reason for switching to color is world television. In a few years, it will all be in color, and you can't compete against that with black-and-white films.