The Women I Like, No Matter What

A Particular Type Of Film Emerged From World War Two, With The Italian Neorealist School. It Was Perfectly Right For Its Time, Which Was As Exceptional As The Reality Around Us. Our Major Interest Focused On That And On How We Could Relate To It. Later, When The Situation Normalized And Post-war Life Returned To What It Had Been In Peacetime, It Became Important To See The Intimate, Interior Consequences Of All That Had Happened.

In Blow-up I Used My Head Instinctively!

That Love Is A Conflict Seems To Me Obvious And Natural. There Isn't A Single Worthwhile Work In World Literature Based On Love That Is Only About The Conquest Of Happiness, The Effort To Arrive At What We Call Love. It's The Struggle That Has Always Interested Those Who Produce Works Of Art - Literature, Cinema Or Poetry.

Method Actors Are Absolutely Terrible. They Want To Direct Themselves, And It's A Disaster.

I've Always Played Down The Drama In My Films. In My Main Scenes, There's Never An Opportunity For An Actor To Let Go Of Everything He's Got Inside. I Always Try To Tone Down The Acting, Because My Stories Demand It, To The Point Where I Might Change A Script So That An Actor Has No Opportunity To Come Out Well.