Top 48 Antonioni Quotes
#1. As much as I love Antonioni films, I love the Three Stooges.
Joe Carnahan
#2. College stirred in her a certain contempt for virtues like kindness and persistence. She would have appeared to have been a kind and persistent person herself, but a steady diet of Antonioni films and an introductory course on existentialism had awakened her to the fact that she wanted more.
Garth Risk Hallberg
#3. I was inspired by [Michelangelo] Antonioni's Red Desert - very big and moody.
Lykke Li
#4. I don't want to direct a movie as good as Antonioni, or Kubrick, or Polanski, or whoever. I want it to be my own. I think I've got the seed of it and, what's more, that I can make movies that are different and informed by my taste.
Jack Nicholson
#5. She didn't like weepy films. She liked to
quote D. H. Lawrence : "Sentimentalism is the working off on yourself
of feelings you haven't really got." Hers were grim European films
- Antonioni, Bertolucci, Bergman - films where everybody
died or wished they had.
Janet Fitch
#6. Fellini, Kurosawa, and Bunuel move in the same field as Tarkovsky. Antonioni was on his way, but expired, suffocated by his own tediousness.
Ingmar Bergman
#7. I'm in the process of trying to organize my DVDs into some kind of order and it's taking me weeks. I have everything from obscure 'Antonioni' to 'Terminator Salvation.'
Michael Weatherly
#8. 'La Notte' is my favorite of the Antonioni pictures and my favorite work of the master cinematographer Gianni di Venanzo, who also shot '8 1/2' for Fellini.
Jake Paltrow
#9. The films I liked were European films-Fellini, Antonioni, Truffaut.
Tobe Hooper
#10. I was in college in the sixties when movies really got good. I'm a fan of Bergman and Hitchcock and Polanski and Antonioni. Those are my gods.
David Small
#11. 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
#13. I am neither a sociologist nor a politician. All I can do is imagine for myself what the future will be like.
Michelangelo Antonioni
#14. I mean simply to say that 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.
Michelangelo Antonioni
#15. Take the road to contradiction, it'll lead you, I promise, to the palace of wisdom.
Frank Lentricchia
#16. Scientific man is already on the moon, and yet we are still living with the moral concepts of Homer.
Michelangelo Antonioni
#17. 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.
Michelangelo Antonioni
#18. I don't want what I am saying to sound like a prophecy or anything like an analysis of modern society ... these are only feelings I have, and I am the least speculative man on earth.
Michelangelo Antonioni
#19. We live in a society that compels us to go on using these concepts, and we no longer know what they mean.
Michelangelo Antonioni
#22. I want to die, stripped, by myself, of all fantasies. That's the goal. I want to feel what is real, at the end, and only what is real. Grip fiercely with my eyes all that is around me
the people of my intimate life, the objects in the room, without the evasions of fantasies.
Frank Lentricchia
#23. I meant exactly what I said: that we are saddled with a culture that hasn't advanced as far as science.
Michelangelo Antonioni
#24. When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.
Michelangelo Antonioni
#25. The greatest danger for those working in the cinema is the extraordinary possibility it offers for lying.
Michelangelo Antonioni
#26. All the characters in my films are fighting these problems, needing freedom, trying to find a way to cut themselves loose, but failing to rid themselves of conscience, a sense of sin, the whole bag of tricks.
Michelangelo Antonioni
#27. 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.
Michelangelo Antonioni
#30. 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.
Michelangelo Antonioni
#32. 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 ...
Michelangelo Antonioni
#36. We know that behind every image revealed there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of that absolute, mysterious reality that no one will ever see.
Michelangelo Antonioni
#37. Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance.
Michelangelo Antonioni
#38. 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.
Michelangelo Antonioni
#39. I began taking liberties a long time ago; now it is standard practice for most directors to ignore the rules.
Michelangelo Antonioni
#41. 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.
Michelangelo Antonioni
#43. 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.
Michelangelo Antonioni
#44. Our personal past is only available to us now through black-and-white film, it's a medium for communication with the dead, including our dead selves, the way we used to be, which is why we're drawn to it.
Frank Lentricchia
#47. When I am shooting a film I never think of how I want to shoot something; I simply shoot it.
Michelangelo Antonioni
#48. 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.
Michelangelo Antonioni
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