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'm more or less skeptical about marriage, because of family ties, relations between children and parents - it's all so depressing.

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.

Reality has a quality of freedom about it that is hard to explain.

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.

You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.

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.