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.

I began taking liberties a long time ago; now it is standard practice for most directors to ignore the rules.

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

The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development- whether psychological or material- one must pass on to the actual realization.

Sometimes actors' mistakes give me ideas I can use, because mistakes are always sincere, absolutely sincere.

I can't imagine love without a sexual charge.

Take Einstein; wasn't he looking for something stable and changeless in this enormous, constantly changing melting pot that is the universe? He sought fixed rules. Today, instead, it would be helpful to find all those rules that show how and why the universe is not fixed - how this dynamism develops and acts. Then maybe we will be able to explain many things, perhaps even art, because the old instruments of judgment, the old aesthetics, are no longer of any use to us - so much so that we no longer know what's beautiful and what isn't.