I Never Feel Empty. I Travel A

We Know That Behind Every Image Revealed There Is Another Image More Faithful To Reality, And In The Back Of That Image There Is Another, And Yet Another Behind The Last One, And So On, Up To The True Image Of That Absolute, Mysterious Reality That No One Will Ever See.

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.

It's Untrue To Say The Colors I Use Are Not Those Of Reality. They Are Real: The Red I Use Is Red; The Green, Green; Blue, Blue; And Yellow, Yellow. It's A Matter Of Arranging Them Differently From The Way I Find Them, But They Are Always Real Colors. So It's Not True That When I Tint A Road Or A Wall, They Become Unreal. They Stay Real, Though Colored Differently For My Scene.

Fitzgerald Said A Very Interesting Thing In His Diary; That Human Life Proceeds From The Good To The Less Good - That Is, It's Always Worse As You Go On. That's True.

I Never Think In Terms Of Alienation; It's The Others Who Do. Alienation Means One Thing To Hegel, Another To Marx And Yet Another To Freud; So It Is Not Possible To Give A Single Definition, One That Will Exhaust The Subject. It Is A Question Bordering On Philosophy, And I'm Not A Philosopher Nor A Sociologist. My Business Is To Tell Stories, To Narrate With Images - Nothing Else. If I Do Make Films About Alienation - To Use That Word That Is So Ambiguous - They Are About Characters, Not About Me.