People From Emilia Romagna

"I always want to tell stories. But they must be stories that evolve, like our own lives. Perhaps what I seek is a new kind of story."

"Everything depends on what you put in front of the camera, what perspectives you create, contrasts, colors. The cameraman can do great things, provided he is well grounded technically. If a person hasn't the raw material, I obviously couldn't do anything with him. But all I ask of a cameraman is technical experience. Everything else is up to me. I was amazed to find that in America cameramen are surprised that this is the way I work."

"I have always imposed my wishes on the cameraman. Moreover, I have always picked them at the outset of their careers and, to a certain extent, have formed them myself."

"When we find ourselves up against practical obstacles that can't be overcome, we must go forward. You either make the film as you can or don't make it at all."

"I try to avoid repetitions of any shot. It isn't easy to find one in my films. You might, I suppose, see something twice, but it would be rare. And then, you know, every line requires its own kind of shot. The American method of shooting one actor continuously, then moving to the other, then intercutting both — this method is wrong. A scene has to have a rhythm of its own, a structure of its own."

"I began taking liberties a long time ago; now it is standard practice for most directors to ignore the rules."

"When I am shooting a film I never think of how I want to shoot something; I simply shoot it. My technique, which differs from film to film, is wholly instinctive and never based on a priori considerations."

"A director is a man, therefore he has ideas; he is also an artist, therefore he has imagination. Whether they are good or bad, it seems to me that I have an abundance of stories to tell. And the things I see, the things that happen to me, continually renew the supply."

"The principle behind the cinema, like that behind all the arts, rests on a choice. It is, in Camus' words, "the revolt of the artist against the real." If one holds to this principle, what difference can it make by what means reality is revealed? Whether the author of a film seizes on the real in a novel, in a newspaper story or in his own imagination, what counts is the way he isolates it, stylizes it, makes it his own."

"I find that it is very useful to look over the location and to feel out the atmosphere while waiting for the actors. It may happen that the images before my eyes coincide with those I had in my mind, but this is not frequently the case. It more often happens that there is something insincere or artificial about the image one has thought of. Here again is another way of improvising."

"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 me thoughts wander freely."

"For me, from the moment when the first, still unformed, idea comes into my head until the projection of the rushes, the process of making a film constitutes a single piece of work. I mean that I cannot become interested in anything, day or night, which is not that film. Let no one imagine that this is a romantic pose — on the contrary. I become relatively more lucid, more attentive, and almost feel as if I were intelligent and more ready to understand."

"The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical."

"I am not a theoretician of the cinema. If you ask me what directing is, the first answer that comes into my head is: I don't know."

"The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blow-Up."

"Hollywood is like being nowhere and talking to nobody about nothing."

"My work is like digging, it's archaeological research among the arid materials of our times. That's how I understand my first films, and that's what I'm still doing..."

"I've always said that the actor is only an element of the image, rarely the most important. The actor is important with his dialogue, with the landscape, with a gesture — but the actor in himself is nothing."

"People are always misquoting me."

"We know that under the image revealed there is another which is truer to reality and under this image still another and yet again still another under this last one, right down to the true image of that reality, absolute, mysterious, which no one will ever see or perhaps right down to the decomposition of any image, of any reality."

"Sometimes I pick up a magazine and read a piece of film criticism — to the end only if I like it. I don't like those which are too free with praise because their reasons seem wrong and that annoys me. Critics who attack me do so for such contradictory reasons that they confuse me, and I am afraid that if I am influenced by one, I will sin according to the standards of the other."

"My characters are ambiguous. Call them that. I don't mind. I am ambiguous myself. Who isn't?"

"Don't regard my characters as symbols of a determined society. See them as something that sparks a reaction within you so that they become a personal experience. The critic is a spectator and an artist insofar as he transforms the work into a personal thing of his own."

"When we say a character in my films doesn't function, we mean he doesn't function as a person, but he does function as a character — that is, until you take him as a symbol. At that point it is you who are not functioning. Why not simply accept him as a character, without judging him? Accept him for what he is. Accept him as a character in a story, without claiming that he derives or acquires meaning from that story. There may be meanings, but they are different for all of us."

"I think people talk too much; that's the truth of the matter. I do. I don't believe in words. People use too many words and usually wrongly. I am sure that in the distant future people will talk much less and in a more essential way. If people talk a lot less, they will be happier. Don't ask me why."

"Modern life is very difficult for people who are unprepared. But this new environment will eventually facilitate more realistic relationships between people."

"When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film. I never think ahead of the shot I'm going to make the following day because if I did, I'd only produce a bad imitation of the original image in my mind. So what you see on the screen doesn't represent my exact meaning, but only my possibilities of expression, with all the limitations implied in that phrase. Perhaps the scene reveals my incapacity to do better; perhaps I felt subconsciously ironic toward it. But it is on film; the rest is up to you."

"I don't want what I am saying to sound like a prophecy or anything like an analysis of modern society .... these are only feelings I have, and I am the least speculative man on earth."

"I would like to make clear that I speak only of sensations. I am neither a sociologist nor a politician. All I can do is imagine for myself what the future will be like."

"We are saddled with a culture that hasn't advanced as far as science. Scientific man is already on the moon, and yet we are still living with the moral concepts of Homer. Hence this upset, this disequilibrium that makes weaker people anxious and apprehensive, that makes it so difficult for them to adapt to the mechanism of modern life. … We live in a society that compels us to go on using these concepts, and we no longer know what they mean. In the future — not soon, perhaps by the twenty-fifth century — these concepts will have lost their relevance. I can never understand how we have been able to follow these worn-out tracks, which have been laid down by panic in the face of nature. When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them."

"I want my characters to suggest the background in themselves, even when it is not visible. I want them to be so powerfully realized that we cannot imagine them apart from their physical and social context even when we see them in empty space."

"Le donne i cavallier, l'arme, gli amori, Le cortesie, l'audaci imprese io canto."

"Ingiustissimo Amor, perché sì raro Corrispondenti fai nostri desiri? Onde, perfido, avvien che t'è sì caro Il discorde voler ch’in duo cor miri?"

"Quel che l'huom vede Amor gli fa invisibile E l'invisibil fa vedere Amore."

"Che per amor venne in furore e matto, d'huom che si saggio era stimato prima."

"I found that I had an affinity with writers like Ariosto and Tasso, at least to the extent of loving their poetry. (“Those allegories of Ariosto and Tasso were in some ways very futuristic with those fantastic voyages-they were almost like science fiction without the science.”) Of course they didn't really have science to use. But they had a similarly disciplined imagination."

"But in a farther age shall rise along The banks of Po two greater still than he; The world which smiled on him shall do them wrong Till they are ashes, and repose with me. The first [Ariosto] will make an epoch with his lyre And fill the earth with feats of chivalry: His fancy like a rainbow, and his fire, Like that of Heaven, immortal, and his thought Borne onward with a wing that cannot tire; Pleasure shall, like a butterfly new caught, Flutter her lovely pinions o'er his theme, And Art itself seem into Nature wrought By the transparency of his bright dream."

"Ordina l'uomo e Dio dispone."

"Quanto più su l'instabil ruota vedi Di Fortuna ire in alto il miser uomo, Tanto più tosto hai da vedergli i piedi Ove ora ha il capo, e far cadendo il tomo."

"Né spegner può, per starne l'acqua, il fuoco, Né può stato mutar, per mutar loco."

"Che quant' era più ornata, era più brutta."

"Che l'uomo il suo destin fugge di raro."

"Natura il fece, e poi roppe la stampa."

"Bene è felice quel, donne mie care, Ch'essere accorto all'altrui spese impare."

"I discovered that what's really important for a creator isn't what we vaguely define as inspiration or even what it is we want to say, recall, regret, or rebel against. No, what's important is the way we say it. Art is all about craftsmanship. Others can interpret craftsmanship as style if they wish. Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It's not what we say but how we say it that matters."

"I've always written at the top of my lungs and from some secret motives within. I have followed the advice of my good friend Federico Fellini who, when asked about his work, said, "Don't tell me what I'm doing, I don't want to know.""

"I think television has betrayed the meaning of democratic speech, adding visual chaos to the confusion of voices. What role does silence have in all this noise?"

"The young watch television twenty-four hours a day, they don't read and they rarely listen. This incessant bombardment of images has developed a hypertrophied eye condition that's turning them into a race of mutants. They should pass a law for a total reeducation of the young, making children visit the Galleria Borghese on a daily basis."

"A good opening and a good ending make for a good film provided they come close together."

"Money is everywhere but so is poetry. What we lack are the poets."