I read somewhere that happiness is like the bluebird of Maeterlinck: Try to catch it and it loses its color. It's like trying to hold water in your hands. The more you squeeze it, the more the water runs away.

The script is simply a series of notes for the film.

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.

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

Monica Vitti is astonishingly mobile. Few actresses have such mobile features. She has her own personal and original way of acting.

Nothing regarding man is ever inhuman. That's why I make films, not iceboxes.

It's untrue to say the colors I use are not those of reality. They are real: The red I use is red; the green, green; blue, blue; and yellow, yellow. It's a matter of arranging them differently from the way I find them, but they are always real colors. So it's not true that when I tint a road or a wall, they become unreal. They stay real, though colored differently for my scene.