When I used a woman in my films or wrote a woman into my film, I wanted her to be a central point and a motivating point or a catalyst to function in the film.

It's natural to me that someone who loved that type of music or that type of spectacle would copy it, to do something, a video. It seems the most natural thing in the world to me.

It's very difficult to be original.

Young people of this century, like my son, didn't live through all those things that went on during that period of time, from 1930 to 1950. They're missing that experience. To go from a bicycle to a vehicle that takes somebody to the moon - only we saw this kind of thing.

I must be honest and say that I was under the fascination of films. I was fascinated by all films, even the words of them. If I was to do a more-precise analysis of the situation, I have to admit that I was more entertained by the bad films than the good ones. Because when something is beautiful, it is there; it is finished; it is done. It doesn't have to be touched or be worked upon.

I always fish out antique ideas, very old ideas.

I'm terrified by young people who are doing what they think is film making. What they're really doing is taking that convulsed, fast rhythm of commercials. It's not film making.