My films have always had an element of immediate autobiography, in that I shoot any particular scene according to the mood I'm in that day, according to the little daily experiences I've had and am having - but I don't tell what has happened to me. I would like to do something more strictly autobiographical, but perhaps I never will, because it isn't interesting enough.

The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development- whether psychological or material- one must pass on to the actual realization.

All I know is that we are loaded down with old and stale stuff - habits, customs, old attitudes already dead and gone.

I want an actor to try to give me what I ask in the best and most exact way possible. He mustn't try to find out more, because then there's the danger that he'll become his own director.

I don't want what I am saying to sound like a prophecy or anything like an analysis of modern society .... these are only feelings I have, and I am the least speculative man on earth.

I've always played down the drama in my films. In my main scenes, there's never an opportunity for an actor to let go of everything he's got inside. I always try to tone down the acting, because my stories demand it, to the point where I might change a script so that an actor has no opportunity to come out well.

There's much talk about the problems of youth, but young people are not a problem. It's a natural evolution of things. We, who have known only how to make war and slaughter people, have no right to judge them, nor can we teach them anything.