Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; and although the individual is what interests him most, we are very far apart. His individuals are very different from mine; his problems are different from mine - but he's a great director. So is Fellini, for that matter.

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.

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

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

When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.

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.

The greatest danger for those working in the cinema is the extraordinary possibility it offers for lying.