Italy Quotes

'Dreamers' was because I really wanted to go back after I heard so much nonsense about '68. I wanted to go back to what for me was '68, when young people thought that they could change the world.
English dialogues are always just what you need and nothing more - like something out of Hemingway. In Italian and in French, dialogues are always theatrical, literary. You can do more with it.
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.
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 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.
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 don't see my movies. When you ask me about one of my movies, it just goes in my memory because maybe sometimes I confuse one for another. I think all movies are like sequences, which is the body of my work.
I like being able to see an innocence in people. I see a lot of beauty in youth. Young people are in progress. Their faces and bodies and minds are constantly changing. It's exciting to capture that on film.
I like that 3D is based on the fact that you look with two eyes, so two cameras imitate that.
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 lived in a kind of dream of communism.
I make movies in order to make things understood, not to be shocking.
I saw 'Avatar' and liked it very much. It was a great achievement.
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.
I started very, very young to make movies - I was 21. And at the age of 27, 28, I'd done already three movies.
I think politics is a higher build in life. You know? If you diffuse under normal, common sense of a story, you make it political. If you choose a conventional way for a story, or refuse to use the conventional way, you make it political.
I wanted already to be a filmmaker after I saw 'La Dolce Vita.'
If I don't fall in love with my characters, I cannot shoot.
My father basically had two ways of judging anything. Either something was poetic or it wasn't.
New York has always embraced me.
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AuthorName
Adam Weishaupt
Profession
Clergyman
BirthDate
06 February, 1748
DeathDate
18 November, 1830
Country
Germany
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