And if you're a golfer and you watch a golf film and Matt Damon swing, and it's not great, then you're not going to believe in the golf story, you're not going to believe in the rest of the film. That's the whole movie, so if that swing looks like crap, the movie's crap.
I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
I'm only interested in being a good actor and in being remembered for my best films, not for the way I look. But it seems inevitable in this line of work that I have to care about the way I look without getting obsessed about it.
I'd like to believe that the people that have supported me in my work or identified with me in films, the people that feel they know me, they do and they don't have misconceptions - they understand. I believe that.
Some moments it feels longer, other moments it feels like it's flown by; you can't believe you've done it all that time... Overall, you have a strong sense for the full spectrum that you've sort of traveled.
I want the public to know that it will be an honor for me to meet them and spend a few special moments with all those who helped me through my filmed career.
The intention was to shoot short films that can exist as shorts independently, but when I put them all together, there are things that echo through them like the dialogue repeats; the situation is always the same, the way they're shot is very simple and the same.
But, although these films express many similar ideas from my previous films, I think they express these ideas in a different way.
I don't believe in personal immortality; the only way I expect to have some version of such a thing is through my books.
The story of my life is about back entrances, side doors, secret elevators and other ways of getting in and out of places so that people won't bother me.
When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.
Like after a nice walk when you have seen many lovely sights you decide to go home, after a while I decided it was time to go home, let us put the cubes back in order. And it was at that moment that I came face to face with the Big Challenge: What is the way home?
A compromise is the art of dividing a cake in such a way that everyone believes that he has got the biggest piece.
I wanted a perfect ending. Now I've learned, the hard way, that some poems don't rhyme, and some stories don't have a clear beginning, middle, and end.
No press conference announcing a last film. I'd just steal away. Best way because, if by chance after two or three years something interesting comes up, I would not - like Sinatra - have to say: "Well, I've thought it over and decided to come back."
Film is a very, very powerful medium. It can either confirm the idea that things are wonderful the way they are, or it can reinforce the conception that things can be changed.
The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!
To begin depriving death of its greatest advantage over us, let us adopt a way clean contrary to that common one; let us deprive death of its strangeness, let us frequent it, let us get used to it; let us have nothing more often in mind than death... We do not know where death awaits us: so let us wait for it everywhere.
I don't know if people really want to know how I feel about drugs. I'm not such a stickler. I believe you can choose to live your life any way you want.
That goes against what I believe morally. That's adultery, and if I'm accused of that, no, that's not right. I have two kids who see that and remember that and judge me. It didn't happen, and it's not to be reported that way.
Quentin Tarantino asked me to work with him but there is no way I am going to do that while Matthew Vaughn is working in film.
You go back to those films of the '40s and '50s and hear the dialogue, the way the people played off each other, the wordplay. I think we've really lost that in movies.
I certainly wasn't able to get it when I was a kid growing up on the Lower East Side; it was very hard at that time for me to balance what I really believed was the right way to live with the violence I saw all around me - I saw too much of it among the people I knew.
I think decor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.
I've lost all my money on these films. They are not commercial. But I'm glad to lose it this way. To have for a souvenir of my life pictures like Umberto D. and The Bicycle Thief.