I always mistrust everything I see, which an image shows me, because I imagine what is beyond it. And what is beyond an image cannot be known.

When I see nature, when I look into the sky, the dawn, the sun, the colors of insects, snow crystals, the night stars, I don't feel a need for God. Perhaps when I can no longer look and wonder, when I believe in nothing - then, perhaps, I might need something else. But I don't know what.

We know that behind every image revealed there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of that absolute, mysterious reality that no one will ever see.

The struggle for life is not only the material and economic one. Comfort is no protection from anxiety.

That love is a conflict seems to me obvious and natural. There isn't a single worthwhile work in world literature based on love that is only about the conquest of happiness, the effort to arrive at what we call love. It's the struggle that has always interested those who produce works of art - literature, cinema or poetry.

It's obvious that I must explain what I want from an actor, but I don't want to discuss everything I ask him to do, because often my requests are completely instinctive and there are things I can't explain. It's like painting: You don't know why you use pink instead of blue. You simply feel that's how it should be - pink. Then the phone rings and you answer it. When you come back, you don't want pink anymore and you use blue - without knowing why. You can't help it; that's just the way it is.

When I see a good film, it's like a whiplash. I run away, in order not to be influenced. Thus, the films I liked most are those I think least about.