Quote

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.

Michelangelo Antonioni

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Michelangelo Antonioni
Age: 94 †
Born: 1912
Born: September 29
Died: 2007
Died: July 30
Film Director
Film Editor
Film Producer
Painter
Poet
Screenwriter
Writer
An-tung-ni-ao-ni
Time
Show
Tired
Interior
Shows
Function
Interiors
Order
Became
Allowing
Character
Characters
Camera
Wells
Follow
Useful
Well
Longer
Shot
Must
Taught
Cameras
Real
Stand
Shots

More quotes by Michelangelo Antonioni

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A scene has to have a rhythm of its own, a structure of its own.
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Normally, however, I try to avoid repetitions of any shot.
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That love is a conflict seems to me obvious and natural. There isn't a single worthwhile work in world literature based on love that is only about the conquest of happiness, the effort to arrive at what we call love. It's the struggle that has always interested those who produce works of art - literature, cinema or poetry.
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My work is like digging, it's archaeological research among the arid materials of our times. That's how I understand my first films, and that's what I'm still doing...
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Hollywood is like being nowhere and talking to nobody about nothing.
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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.
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I meant exactly what I said: that we are saddled with a culture that hasn't advanced as far as science.
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Life should be taken ironically otherwise, it becomes a tragedy.
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The struggle for life is not only the material and economic one. Comfort is no protection from anxiety.
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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?
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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.
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The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blow-Up.
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The script is simply a series of notes for the film.
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In any case, the idea of giving all of reality is overly simple and absurd.
Michelangelo Antonioni
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I've always played down the drama in my films. In my main scenes, there's never an opportunity for an actor to let go of everything he's got inside. I always try to tone down the acting, because my stories demand it, to the point where I might change a script so that an actor has no opportunity to come out well.
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A man who renounces something is also a man who believes in something.
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Often to understand, we have to look into emptiness.
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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.
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A film that can be described in words is not really a film.
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Hollywood doesn't believe in the death penalty for anyone except people who get cable TV without paying for it. Hollywood is like being nowhere and talking to nobody about nothing.
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