I've never had a method of working. I change according to circumstances; I don't employ any particular technique or style. I make films instinctively, more with my belly than with my brain.

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.

A director is a man, therefore he has ideas; he is also an artist, therefore he has imagination. Whether they are good or bad, it seems to me that I have an abundance of stories to tell. And the things I see, the things that happen to me, continually renew the supply.

A woman's sex appeal is an inner matter. It stems from her mental make-up, basically. It's an attitude, not just a question of her physical features - that arrogant quality in a woman's femininity. Otherwise, all beautiful women would have sex appeal, which is not so.

If an actor tries to understand too much, he will act in an intellectual and unnatural manner.

All I know is that we are loaded down with old and stale stuff - habits, customs, old attitudes already dead and gone.

I rarely feel the desire to reread a scene the day before the shooting. Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot. This is the system I prefer: to arrive at the moment when shooting is about to begin, absolutely unprepared, virgin. I often ask to be left alone on the spot for fifteen minutes or half an hour and I let my thoughts wander freely.