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

When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them.

My films always leave me unsatisfied, since I've always worked under fairly disastrous conditions economically.

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.

I may film scenes I had no intention of filming; things suggest themselves on location, and we improvise. I try not to think about it too much. Then, in the cutting room, I take the film and start to put it together, and only then do I begin to get an idea of what it is about.

Reality itself is steadily becoming more colored. Think of what factories were like, especially in Italy at the beginning of the 19th century, when industrialization was just beginning: gray, brown and smoky. Color didn't exist. Today, instead, most everything is colored. The pipe running from the basement to the 12th floor is green because it carries steam. The one carrying electricity is red, and that with water is purple. Also, plastic colors have filled our homes, even revolutionized our taste. Pop art grew out of that and was possible because of this change in taste.

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.