Nowadays is not only us critics who enthusiastically support your work, as it was at the times of L’avventura and La notte. A large part of the public has also shown its enthusiasm for your work since Blow-Up was released. How do you explain this change?
Today, the public has matured and accepts certain themes and/or language without difficulty. As for myself, I would say that, instinctively, I might have found a way to make my films more – how can I say Americans would say exciting, more interesting, but that is not the right word. More precisely, I might have found a way to be less reserved in showing emotions and feelings. Perhaps I have been able to deal with a topic more deeply and even more skillfully. I do not really know. A film – I will never grow tired of repeating it – does not need to be “understood.” It is enough if the viewer “feels” it. To see a film must be an overall personal, intuitive experience, like when one reads a poem. Who would dream of being able to thoroughly explain a poem? Take The Passenger, for instance (I am sorry to keep returning to this film, but this is the film that everyone wants to talk about), or its last sequence, that long uninterrupted take. There is no need for the audience to understand it from a technical point of view; it is enough if they are sensitive to that slow flowing of things through the window, while the camera slowly moves onward.
In The Passenger, however, technique is very important, even if this is not unusual in your films.
It seems to me that there is something unusual here. In general, I have never made camera movements that were not justified by the movements of the characters. Here, instead, the camera moves on its own, as if it had the same interest for objects, landscape, and people that the protagonist, the reporter, has. Why this? It seems to me almost arrogant to answer. I work very instinctively, and the meanings of certain techniques become clear to me only later on. For example, in reviewing The Passenger I ask myself: Why did I film that scene in this way? It will seem strange, but I always find an answer that I have never previously thought of. The presence of a car in a pan, apparently coming from nowhere, might have been suggested to me by the fact that a character without a past of his own, but with the past of someone who is now dead, was riding in that same car. Continue reading