You know what I would like to do: make a film with actors standing in empty space so that the spectator would have to imagine the background of the characters.— Michelangelo Antonioni
The most dreamy Michelangelo Antonioni quotes that will be huge advantage for your personal development
A woman's sex appeal is an inner matter.
It stems from her mental make-up, basically. It's an attitude, not just a question of her physical features - that arrogant quality in a woman's femininity. Otherwise, all beautiful women would have sex appeal, which is not so.
Hollywood is like being nowhere and talking to nobody about nothing.
I always mistrust everything I see, which an image shows me, because I imagine what is beyond it. And what is beyond an image cannot be known.
I meant exactly what I said: that we are saddled with a culture that hasn't advanced as far as science.
If an actor tries to understand too much, he will act in an intellectual and unnatural manner.
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.
I didn't like university life much at Bologna.
The subjects I studied - economics and business administration - didn't interest me. I wanted to make films. I was glad when I was graduated. Yet it's odd; on graduation day, I was overcome with a terrible sadness. I realized that my youth was over and now the struggle had begun.
Monica Vitti is astonishingly mobile.
Few actresses have such mobile features. She has her own personal and original way of acting.
Violence is not the only means of persuasion.
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.
The family today counts for less and less.
Why? Who knows - the growth of science, the Cold War, the atomic bomb, the world war we've made, the new philosophies we've created; certainly something is happening to man, so why go against it, why oblige this new man to live by the mechanisms and regulations of the past?
In Blow-up I used my head instinctively!
There's much talk about the problems of youth, but young people are not a problem. It's a natural evolution of things. We, who have known only how to make war and slaughter people, have no right to judge them, nor can we teach them anything.
I believe in the autobiographical concept only to the degree that I am able to put onto film all that's passing through my head at the moment of shooting.
One of the problems of the future world will be the use of leisure time.
How will it be filled up? Maybe drugs will be distributed free of charge by the government.
The script is simply a series of notes for the film.
When I'm sure I have a story, I call my collaborators and we begin to discuss it. And we conduct studies of certain subjects to make sure of our terrain. Then, finally, in the last month or two, I write the story.
In any case, the idea of giving "all" of reality is overly simple and absurd.
A man who renounces something is also a man who believes in something.
I want an actor to try to give me what I ask in the best and most exact way possible. He mustn't try to find out more, because then there's the danger that he'll become his own director.
I don't know whether I am ever bored. I never look at myself.
I rarely feel the desire to reread a scene the day before the shooting.
Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot. This is the system I prefer: to arrive at the moment when shooting is about to begin, absolutely unprepared, virgin. I often ask to be left alone on the spot for fifteen minutes or half an hour and I let my thoughts wander freely.
I began taking liberties a long time ago;
now it is standard practice for most directors to ignore the rules.
The struggle for life is not only the material and economic one.
Comfort is no protection from anxiety.
The greatest danger for those working in the cinema is the extraordinary possibility it offers for lying.
I think people talk too much; that's the truth of the matter. I do. I don't believe in words. People use too many words and usually wrongly. I am sure that in the distant future people will talk much less and in a more essential way. If people talk a lot less, they will be happier. Don't ask me why.
The way I relax, what I like doing most, is watching.
That's why I like traveling, to have new things before my eyes - even a new face. I enjoy myself like that and can stay for hours, looking at things, people, scenery.
All I know is that we are loaded down with old and stale stuff - habits, customs, old attitudes already dead and gone.
Normally, however, I try to avoid repetitions of any shot.
I can't give any absolute definition of what love is, or even whether it ought to exist.
Favourite directors change, like favorite authors.
I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.
I never feel empty. I travel a lot and I think about other films.
A film that can be described in words is not really a film.
The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development- whether psychological or material- one must pass on to the actual realization.
Life should be taken ironically; otherwise, it becomes a tragedy.
I've always dreamed of getting to know the women of other countries better.
When I was a boy, I remember, I used to get angry at the thought that I did not know German or American or Swedish women.
I'm not rich and maybe I'll never be rich. Money is useful - yes - but I don't worship it.
I dislike judging myself, but I will say I would be wealthy today if I had accepted all the films that have been offered to me with large sums of money. But I've always refused, in order to do what I felt like doing.
When you work on a character, you form in your mind an image of what he ought to look like. Then you go and find one who resembles him.
There are many ways of communicating.
Some hold the theory that new forms of communication between people can be obtained through hallucinogenic drugs.
Everyone has understood me in his own way.
But I would have to understand myself first in order to judge - and so far, I haven't.
Ingmar Bergman is a long way from me, but I admire him.
He, too, concentrates a great deal on individuals; and although the individual is what interests him most, we are very far apart. His individuals are very different from mine; his problems are different from mine - but he's a great director. So is Fellini, for that matter.
A director is a man, therefore he has ideas;
he is also an artist, therefore he has imagination. Whether they are good or bad, it seems to me that I have an abundance of stories to tell. And the things I see, the things that happen to me, continually renew the supply.
Neorealism taught us to follow the characters with the camera, allowing each shot its own real interior time. Well, I became tired of all this; I could no longer stand real time. In order to function, a shot must show only what is useful.
When I see a good film, it's like a whiplash.
I run away, in order not to be influenced. Thus, the films I liked most are those I think least about.
Today we no longer know what to call art, what its function is and even less what function it will have in the future. We know only that it is something dynamic - unlike many ideas that have governed us.
I've made films about the middle classes because I know them best.
Everyone talks about what he knows best.
When man becomes reconciled to nature, when space becomes his true background, these words and concepts will have lost their meaning, and we will no longer have to use them.