The Moment Always Comes When, Having Collected

I Simply Know What The Actor's Attitude Should Be And What He Should Say. He Doesn't, Because He Can't See The Relationship That Begins To Exist Between His Body And The Other Things In The Scene.

Do You Really Think A Man Must Be Strong, Masculine, Dominating, And The Woman Frail, Obedient And Sensitive? This Is A Conventional Idea. Reality Is Quite Different.

It's Untrue To Say The Colors I Use Are Not Those Of Reality. They Are Real: The Red I Use Is Red; The Green, Green; Blue, Blue; And Yellow, Yellow. It's A Matter Of Arranging Them Differently From The Way I Find Them, But They Are Always Real Colors. So It's Not True That When I Tint A Road Or A Wall, They Become Unreal. They Stay Real, Though Colored Differently For My Scene.

We Know That Behind Every Image Revealed There Is Another Image More Faithful To Reality, And In The Back Of That Image There Is Another, And Yet Another Behind The Last One, And So On, Up To The True Image Of That Absolute, Mysterious Reality That No One Will Ever See.

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.