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.

Often to understand, we have to look into emptiness.

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.

Scientific man is already on the moon, and yet we are still living with the moral concepts of Homer.

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 don't know whether I am ever bored. I never look at myself.

A scene has to have a rhythm of its own, a structure of its own.