Scientific man is already on the moon, and yet we are still living with the moral concepts of Homer.

Monica Vitti is astonishingly mobile. Few actresses have such mobile features. She has her own personal and original way of acting.

Reality itself is steadily becoming more colored. Think of what factories were like, especially in Italy at the beginning of the 19th century, when industrialization was just beginning: gray, brown and smoky. Color didn't exist. Today, instead, most everything is colored. The pipe running from the basement to the 12th floor is green because it carries steam. The one carrying electricity is red, and that with water is purple. Also, plastic colors have filled our homes, even revolutionized our taste. Pop art grew out of that and was possible because of this change in taste.

Another reason for switching to color is world television. In a few years, it will all be in color, and you can't compete against that with black-and-white films.

I never think in terms of alienation; it's the others who do. Alienation means one thing to Hegel, another to Marx and yet another to Freud; so it is not possible to give a single definition, one that will exhaust the subject. It is a question bordering on philosophy, and I'm not a philosopher nor a sociologist. My business is to tell stories, to narrate with images - nothing else. If I do make films about alienation - to use that word that is so ambiguous - they are about characters, not about me.

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 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.