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 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.

Often to understand, we have to look into emptiness.

Women are a finer filter of reality. They can sniff things.

My films have always had an element of immediate autobiography, in that I shoot any particular scene according to the mood I'm in that day, according to the little daily experiences I've had and am having - but I don't tell what has happened to me. I would like to do something more strictly autobiographical, but perhaps I never will, because it isn't interesting enough.

I'll go on making films until I make one that pleases me from the first to the last frame. Then I'll quit.

I always mistrust everything I see, which an image shows me, because I imagine what is beyond it. And what is beyond an image cannot be known.