A Quote by Bernardo Bertolucci

I wanted already to be a filmmaker after I saw 'La Dolce Vita.' — © Bernardo Bertolucci
I wanted already to be a filmmaker after I saw 'La Dolce Vita.'
I saw Dolce Vita and my mind was blown by it, by the synthesis. I realised I wanted to be a filmmaker and started making films. I was writing screenplays and couldn't get money because my work was so uncommercial.
I decided to an actress because of the film 'La Dolce Vita.
I decided to an actress because of the film 'La Dolce Vita.'
I wanted to be a film composer because I heard scores that could stand alone, from 'Vertigo' to 'Star Wars' to 'La Dolce Vita,' because this music has so much history. They're weighed with the history of music. They come from somewhere, they have a past.
'La Dolce Vita' made we want to go to Rome and, if not jump into the Trevi Fountain, at least watch someone else do it. Maybe that's why I married an Italian...!
When I left university I was sure that I was going to be a painter. Then I had a crisis, a revelation. I saw Dolce Vita and my mind was blown by it, by the synthesis. I realised I wanted to be a filmmaker and started making films. I was writing screenplays and couldn't get money because my work was so uncommercial. I got married and started writing fiction. What was wonderful is that it gave me my freedom because no-one can tell me I can't work. Novels have become equally important to me as films. I consider myself a storyteller and passionately engaged in both of those disciplines.
I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.
Ave Dolce Vita, Rex Regum! Hail Sweet Life, King of Kings! We love you and we believe in you!
I am just a poor boy, though my story's seldom told, and I have squandered my resistance, for a pocket full of mumbles, such are promises. All lies in jest, still a man hears what he wants to hear and disregards the rest...la-la-la-la-la-la-la-lala-la-la-la-la...
The first thing that inspires me is my mood, but I take inspiration from a lot of things: a rock song, a romantic movie or a specific lifestyle, like 1960s London and, of course, Italian 'dolce vita!'
Valentino Garavani is never really shown himself as anything other than this gracious diplomat of the dolce vita. That's his preferred look. But he's a temperamental genius - a man of cyclone force, passion, and perfectionist impulses who has very little tolerance for things that aren't exactly as he wants them to be.
I've always been a little off, but it's worked really well for me, and it still works. After so many years, you have a look, you become a brand, la la la.
Now is the month of Maying, When merry lads are playing. Fa la la... Each with his bonny lass, upon the greeny grass. Fa la la... The Spring clad all in gladness, Doth laugh at winter's sadness. Fa la la.
I grew up in LA, and I don't think I've seen LA onscreen in a way that felt real to me. There are definitely movies, but they are few and far between. I wanted to see a movie that was set in LA that wasn't about the film industry. LA is such a lonely place to be alone. In New York you can just walk out and be among people. You're on the subway among people, you go to cafés, you can talk to people. In LA, no one talks to each other, you're in your house, you're in your car, even when you take walks there's no one on the street.
If you want the film [La La Land ] to represent all things jazz, it does not. You'll be disappointed by that. But, if you just see it as one guy's point of view, one filmmaker's point of view, and one story among many stories that can be told about jazz, then it's not as much of an issue.
I found out I wanted to be a filmmaker almost by accident after graduating from college in 2005.
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