Hollywood is like being nowhere and talking to nobody about nothing.

Everyone has understood me in his own way. But I would have to understand myself first in order to judge - and so far, I haven't.

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.

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.

I would throw out the sense of nation, "good breeding," certain forms and ceremonies that govern relationships - perhaps even jealousy. We're not aware of all of them yet, though we suffer from them. And they mislead us not only about ethics but also about aesthetics.

All I know is that we are loaded down with old and stale stuff - habits, customs, old attitudes already dead and gone.

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.