Frasi di Michelangelo Antonioni

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“Era un uomo che violentava la realtà e faceva cose che alla luce del buonsenso erano assurde… Per i giovani di allora, e io ero tra questi, Nuvolari rappresentava il coraggio, un coraggio senza limiti. Fu il mito, l'irraggiungibile.  ”

“Non mi sono mai sentito odiato, un essere abominevole. Ho avuto delle stroncature, ma anche degli elogi. Non mi esalto per gli apprezzamenti positivi e non mi avvilisco per i dissensi.”

“Sono una delle persone che pensa meno a se stesso.”

“I've always said that the actor is only an element of the image, rarely the most important. The actor is important with his dialogue, with the landscape, with a gesture — but the actor in himself is nothing.”

“I am not a theoretician of the cinema. If you ask me what directing is, the first answer that comes into my head is: I don't know.”

“People are always misquoting me.”

“My characters are ambiguous. Call them that. I don't mind. I am ambiguous myself. Who isn't?”

“When we say a character in my films doesn't function, we mean he doesn't function as a person, but he does function as a character — that is, until you take him as a symbol. At that point it is you who are not functioning. Why not simply accept him as a character, without judging him? Accept him for what he is. Accept him as a character in a story, without claiming that he derives or acquires meaning from that story. There may be meanings, but they are different for all of us.”

“I try to avoid repetitions of any shot. It isn't easy to find one in my films. You might, I suppose, see something twice, but it would be rare. And then, you know, every line requires its own kind of shot. The American method of shooting one actor continuously, then moving to the other, then intercutting both — this method is wrong. A scene has to have a rhythm of its own, a structure of its own.”

“When we find ourselves up against practical obstacles that can't be overcome, we must go forward. You either make the film as you can or don't make it at all.”

“The greatest danger for those working in the cinema is the extraordinary possibility it offers for lying.”