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.

The women I like, no matter what nationality, all seem to have more or less the same qualities. Perhaps this is because one goes looking for them - that is, you like that type of woman and then look for her.

A man who renounces something is also a man who believes in something.

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.

I didn't like university life much at Bologna. The subjects I studied - economics and business administration - didn't interest me. I wanted to make films. I was glad when I was graduated. Yet it's odd; on graduation day, I was overcome with a terrible sadness. I realized that my youth was over and now the struggle had begun.

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.

The struggle for life is not only the material and economic one. Comfort is no protection from anxiety.