I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space.

The family today counts for less and less. Why? Who knows - the growth of science, the Cold War, the atomic bomb, the world war we've made, the new philosophies we've created; certainly something is happening to man, so why go against it, why oblige this new man to live by the mechanisms and regulations of the past?

I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space.

I'll go on making films until I make one that pleases me from the first to the last frame. Then I'll quit.

The women I like, no matter what nationality, all seem to have more or less the same qualities. Perhaps this is because one goes looking for them - that is, you like that type of woman and then look for her.

Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.

It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.