Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write 'War and Peace' in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.

When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.

I'm just an old man and I smell bad, remember?

In any case, once you're dealing on a nonverbal level, ambiguity is unavoidable. But it's the ambiguity of all art, of a fine piece of music or a painting - you don't need written instructions by the composer or painter accompanying such works to 'explain' them. “Explaining” them contributes nothing but a superficial 'cultural' value which has no value except for critics and teachers who have to earn a living.

One man writes a novel. One man writes a symphony. It is essential that one man make a film.

I've never achieved spectacular success with a film. My reputation has grown slowly. I suppose you could say that I'm a successful filmmaker-in that a number of people speak well of me. But none of my films have received unanimously positive reviews, and none have done blockbuster business.

I've got a peculiar weakness for criminals and artists. Neither takes life as it is. Any tragic story has to be in conflict with things as they are.