I've Made Films About The Middle Classes

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.

Today We No Longer Know What To Call Art, What Its Function Is And Even Less What Function It Will Have In The Future. We Know Only That It Is Something Dynamic - Unlike Many Ideas That Have Governed Us.

Nothing Regarding Man Is Ever Inhuman. That's Why I Make Films, Not Iceboxes.

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.

The Greatest Danger For Those Working In The Cinema Is The Extraordinary Possibility It Offers For Lying.