I never feel empty. I travel a lot and I think about other films.

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've made films about the middle classes because I know them best. Everyone talks about what he knows best.

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.

I would throw out the sense of nation, "good breeding," certain forms and ceremonies that govern relationships - perhaps even jealousy. We're not aware of all of them yet, though we suffer from them. And they mislead us not only about ethics but also about aesthetics.

I can't imagine love without a sexual charge.

Take Einstein; wasn't he looking for something stable and changeless in this enormous, constantly changing melting pot that is the universe? He sought fixed rules. Today, instead, it would be helpful to find all those rules that show how and why the universe is not fixed - how this dynamism develops and acts. Then maybe we will be able to explain many things, perhaps even art, because the old instruments of judgment, the old aesthetics, are no longer of any use to us - so much so that we no longer know what's beautiful and what isn't.