In any case, the idea of giving "all" of reality is overly simple and absurd.

A particular type of film emerged from World War Two, with the Italian neorealist school. It was perfectly right for its time, which was as exceptional as the reality around us. Our major interest focused on that and on how we could relate to it. Later, when the situation normalized and post-war life returned to what it had been in peacetime, it became important to see the intimate, interior consequences of all that had happened.

Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; and although the individual is what interests him most, we are very far apart. His individuals are very different from mine; his problems are different from mine - but he's a great director. So is Fellini, for that matter.

It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.

You can't go to an LSD or pot party unless you take it yourself. If I want to go, I must take drugs myself.

Actors are always a little high at work. Acting is their drug. So when you put the brakes on, they're naturally a little disappointed.

Normally, however, I try to avoid repetitions of any shot.