The Struggle For Life Is

All I Know Is That We Are Loaded Down With Old And Stale Stuff - Habits, Customs, Old Attitudes Already Dead And Gone.

The Script Is A Starting Point, Not A Fixed Highway. I Must Look Through The Camera To See If What I've Written On The Page Is Right Or Not. In The Script, You Describe Imagined Scenes, But It's All Suspended In Mid-air. Often, An Actor Viewed Against A Wall Or A Landscape, Or Seen Through A Window, Is Much More Eloquent Than The Lines You've Given Him. So Then You Take Out The Lines. This Happens Often To Me And I End Up Saying What I Want With A Movement Or A Gesture.

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.

I May Film Scenes I Had No Intention Of Filming; Things Suggest Themselves On Location, And We Improvise. I Try Not To Think About It Too Much. Then, In The Cutting Room, I Take The Film And Start To Put It Together, And Only Then Do I Begin To Get An Idea Of What It Is About.

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.