You can't go to an LSD or pot party unless you take it yourself. If I want to go, I must take drugs myself.

A particular type of film emerged from World War Two, with the Italian neorealist school. It was perfectly right for its time, which was as exceptional as the reality around us. Our major interest focused on that and on how we could relate to it. Later, when the situation normalized and post-war life returned to what it had been in peacetime, it became important to see the intimate, interior consequences of all that had happened.

In Blow-up I used my head instinctively!

I think people talk too much; that's the truth of the matter. I do. I don't believe in words. People use too many words and usually wrongly. I am sure that in the distant future people will talk much less and in a more essential way. If people talk a lot less, they will be happier. Don't ask me why.

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.

There are many ways of communicating. Some hold the theory that new forms of communication between people can be obtained through hallucinogenic drugs.

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.