When I'm sure I have a story, I call my collaborators and we begin to discuss it. And we conduct studies of certain subjects to make sure of our terrain. Then, finally, in the last month or two, I write the story.

Method actors are absolutely terrible. They want to direct themselves, and it's a disaster.

When you work on a character, you form in your mind an image of what he ought to look like. Then you go and find one who resembles him.

I simply know what the actor's attitude should be and what he should say. He doesn't, because he can't see the relationship that begins to exist between his body and the other things in the scene.

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.

I am neither a sociologist nor a politician. All I can do is imagine for myself what the future will be like.

Sometimes actors' mistakes give me ideas I can use, because mistakes are always sincere, absolutely sincere.