Bernardo Bertolucci Quotes

So I feel a responsibility to help first-time film-makers in Brazil, but also to increase the dialogue between film cultures which are really wonderful and so much closer to us than what we do see on our screens.

I'm trying to strike a balance between Bollywood and Hollywood.

All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.

The cinematic language and interior destiny of each Iranian film-maker is different. The international influences on them vary from Rossellini to Fellini, Akira Kurosawa to Hou Hsiao-hsien, but there is a strong sense of solidarity.

I always maintain that the film industry and film people across the globe are more or less the same.

I'm besotted by [Kirsten Dunst] now. I think she's just wonderful. I can't think for a second that however much she'd worked in America, she would never have had the chance to play [a role in Lars Von Trier's 'Melancholia' ] like that. You have to get outside of the States to do something like that.

I think that a real film fan experience is about a kind of omnivorous experience.

I think it's very important that films like Bad Hurt don't get lost in the mix of the sci-fi-kill-everything-on-the-screen-blood-dripping-down-the-walls sort of the world of the cinema that we live in.

Humans are really interesting. We're so clever, what we do with our brain. How we manage to con ourselves into thinking all sorts of things is really fascinating. By the same token, if we could just convince ourselves of things that would gather us together and powerfully turn things around for the good, that would be awesome. It's doubtful because we're such a fear-based species.

It is interesting how fashion filters down and we discover in the "Devil Wears Prada" that we're all prey to trends, even if we think we are not.

I grew up looking at... going to the movies a lot, as much as they'd let you. I grew up in Manchester in the north of England in the '40s and '50s. I saw a lot of movies. They were all Hollywood and British movies. I didn't see a film that wasn't in English until I was 17 when I went to London to be a student.

If I can entertain people and get them to open up a little bit, then they're much more conducive to any ideas I might have, whether they're about relationships or politics. The most interesting songs, I think, are the ones where the two overlap.

You get very little from the studios anymore, it's all independent. And I think the studio, with the exception of something like The Social Network, a fine film, very interesting, but as for studio pictures, that's it, what else? There was more only a few years ago. So it changes, and I'm trying as much as I can.

I want to diversify a bit. I don't wanna throw myself into another big blockbuster or another big franchise anytime soon. So smaller films, just small little interesting parts, I think I'd even like to play around with some really good supporting roles and then develop into - I don't know just like feel my way into it a bit more. I don't know, I'd love to try some theater. That's my other thing. I'd love to do some Shakespeare.

I liked the idea of having a record that's reggae-influenced but not musically, just lyrically. I think there's so much about Rasta culture that's interesting. Just the idea of preaching one-ness, that we're all in this together. Which I suppose is at the root of most any religion. You're gonna find it, if taken in the right context.

Films are made all over the world all the time and only a thin slice of that product is Hollywood.

I think that the reason why we Americans seem to be so addicted to trying to get rich suddenly is merely because the opportunity to make promising efforts in that direction has offered itself to us with a frequency out of all proportion to the European experience.

Do you think Arabs are dumb? They gave us our numbers. Try doing long division with Roman numerals.

I think there's a lot to be learned from pop culture. But at the same time I see the dangers of using it in an exclusive way to construct meaning in your life.

He [Daniel Craig] is mysterious, and I think that that's the thing Bond has to exude, that kind of mysterious edge. He draws you in, but he is also incredibly cool, you know, James Bond is cool and sharp and Daniel has that to a tee, and he's also got the rawness and an edginess to him that is slightly unhinged, and you're not sure what is going on there, and I think that is really intriguing and interesting. It is a lot weightier and gritty, and he has that.

I think I’ve said this before many times—that photography allows you to learn to look and see. You begin to see things you had never paid any attention to. And as you photograph, one of the benefits is that the world becomes a much richer, juicier, visual place. Sometimes it is almost unbearable — it is too interesting. And it isn’t always just the photos you take that matters. It is looking at the world and seeing things that you never photograph that could be photographs if you had the energy to keep taking pictures every second of your life.

Feminism is something I think about more when I watch the film, Christine, rather than when I was actually doing it, to be honest with you. But I do think it functions as a sort of interesting feministic critique, because you are seeing a woman who's resolutely incapable of behaving like the kind of woman that's acceptable at the time. She doesn't know how to play the game by everyone else's rules, and it makes you realize that actually there were rules that were functioning for a woman to be a careerist.

The British fans are liable to suddenly be talking to you about something that you don't know how you got into the conversation. I think it's something to do with the fact that they've been watching you for so many years sort of you telling your story.

There's more emphasis on art and culture in Europe than there is in the United States and I think that a lot of American directors and writers are just trying to copy other American horror films, they don't pick up much in the way that European filmmakers do.

I even think the commercial element of new American directors is really fertile right now. There are a lot of filmmakers with very particular visions, like Sofia Coppola and Wes Anderson and P.T. Anderson and Alexander Payne and Peter Sollett and Harmony Korine and Vincent Gallo. At least they're making films that they choose to make, and they're on their own. That's positive to me. This is not a dead period for American cinema at all.