A Scene Has To Have A Rhythm

I Rarely Feel The Desire To Reread A Scene The Day Before The Shooting. Sometimes I Arrive At The Place Where The Work Is To Be Done And I Do Not Even Know What I Am Going To Shoot. This Is The System I Prefer: To Arrive At The Moment When Shooting Is About To Begin, Absolutely Unprepared, Virgin. I Often Ask To Be Left Alone On The Spot For Fifteen Minutes Or Half An Hour And I Let My Thoughts Wander Freely.

The Struggle For Life Is Not Only The Material And Economic One. Comfort Is No Protection From Anxiety.

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.

The Script Is A Starting Point, Not A Fixed Highway. I Must Look Through The Camera To See If What I've Written On The Page Is Right Or Not. In The Script, You Describe Imagined Scenes, But It's All Suspended In Mid-air. Often, An Actor Viewed Against A Wall Or A Landscape, Or Seen Through A Window, Is Much More Eloquent Than The Lines You've Given Him. So Then You Take Out The Lines. This Happens Often To Me And I End Up Saying What I Want With A Movement Or A Gesture.

I've Made Films About The Middle Classes Because I Know Them Best. Everyone Talks About What He Knows Best.