Normally, However, I Try To Avoid Repetitions

You Can't Go To An Lsd Or Pot Party Unless You Take It Yourself. If I Want To Go, I Must Take Drugs Myself.

I Never Think In Terms Of Alienation; It's The Others Who Do. Alienation Means One Thing To Hegel, Another To Marx And Yet Another To Freud; So It Is Not Possible To Give A Single Definition, One That Will Exhaust The Subject. It Is A Question Bordering On Philosophy, And I'm Not A Philosopher Nor A Sociologist. My Business Is To Tell Stories, To Narrate With Images - Nothing Else. If I Do Make Films About Alienation - To Use That Word That Is So Ambiguous - They Are About Characters, Not About Me.

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.

I Read Somewhere That Happiness Is Like The Bluebird Of Maeterlinck: Try To Catch It And It Loses Its Color. It's Like Trying To Hold Water In Your Hands. The More You Squeeze It, The More The Water Runs Away.

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.