I wanted already to be a filmmaker after I saw 'La Dolce Vita.'
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Although some people call me anti-feminist, I know I wasn't because Germaine Greer supported me.
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You live day by day. You can't build your life.
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I started in '69 to have psychoanalysis, and I realised very soon that I was changing, and that's I think why my movies were changing. They became much more open to dialogue.
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If you mention any ideological thing about shooting 'Last Tango in Paris,' I was thinking I was doing a political film.
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I make movies in order to make things understood, not to be shocking.
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I don't think you can in any way export culture with guns or tanks.
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When I shoot, I try to feel the body and the face and the weight of the actor, because the character until that moment is only in the pages of the script. And very often, I pull from the life of my actors. I'm always curious about what these characters and these actors are hiding about their lives.
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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.