Bernardo Bertolucci

I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.

I don't see my movies. I think it's healthier and safer to keep a bit of distance. I'm afraid to be disappointed.

I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.

I haven't made a movie for a while, but I've watched a lot. It's my major waste of time. I like to work, but also to be waiting for work.

To explore technology for me is something that I have to do. Otherwise, I feel completely left in the back... abandoned.

For American filmmakers, the Oscars is like a mystic thing. For me, it was being in a mirror of my dreams when I was dreaming of Hollywood when I was an adolescent.

What always made me proud - almost blushing with pride - is that Francis Coppola, Martin Scorsese, Steven Spielberg all told me that 'The Conformist' is their first modern influence.

I don't film messages. I let the post office take care of those.

There's no more film; now everything's digital. I welcome this. It's fantastic for me to have a new chance.

I like to be in a huis clos, as the French say - in one place. It's something that in general can create a bit of claustrophobia. But for me, claustrophobia becomes almost immediately claustrophilia. I love it!

I don't think you can in any way export culture with guns or tanks.

I was writing poems when I was young, you know, because my father was a poet, so it was absolutely normal to follow my father.

The problem in Hollywood is that they try to become the only kind of cinema in the world, okay? The imposition everywhere of a unique culture, which is Hollywood culture, and a unique way of life, which is the American way of life.

I wanted to have a reaction from the audience. I wanted to be able to talk to somebody, and not be talking just to myself. That's when I did 'The Conformist,' 'Last Tango in Paris,' etc. And I found it was incredibly rewarding, something new.

I left the ending ambiguous, because that is the way life is.

I remember being young in the 1960s... we had a great sense of the future, a great big hope. This is what is missing in the youth today. This being able to dream and to change the world.

The conformist understands that the reason of his desperate look for conformism is that he realises he is different and that he never accepted his difference.

I am in love with the idea of doing a movie in 3D. I think 3D would be great in a kind of realistic normal story without throwing objects to the camera, but using the 3D on the emotions in an intimate story.

A monoculture is not only Hollywood, but Americans trying to export democracy.

I wanted already to be a filmmaker after I saw 'La Dolce Vita.'

I think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.

Sometimes you are in sync with the times, sometimes you are in advance, sometimes you are late.

You live day by day. You can't build your life.

What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.

After many, many years, I fell out of love with politics. It's not something I like but it's the truth.

I am still against any kind of censorship. It's a subject in my life that has been very important.