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.

I don't want what I am saying to sound like a prophecy or anything like an analysis of modern society .... these are only feelings I have, and I am the least speculative man on earth.

Neorealism taught us to follow the characters with the camera, allowing each shot its own real interior time. Well, I became tired of all this; I could no longer stand real time. In order to function, a shot must show only what is useful.

When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them.

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.

A film you can explain in words is not a real film.

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.