The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blow-Up.

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.

I'm not rich and maybe I'll never be rich. Money is useful - yes - but I don't worship it.

There can be no censorship better than one's own conscience.

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

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.

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