Hollywood films hadn't changed for a long, long time.

You measured in many ways your pleasure at movies from the distance they lived from your own life.

You know, you watched Ingrid Bergman walking up a fog and shroud and ramp to a plane and Bogart waving goodbye.

He knew this was never going to happen to you, ever.

That started to change.

Again, with these revolutions that happened in the 60s, people wanted something that they recognized,

that was part of them.

It wasn't the distance from your life that was the appealing thing.

In many ways, it was the recognition that that was a part of your life.

Of course, we thought that movies could make the world better and could illuminate contemporary

life and be that artists didn't have to just be employees, that artists could be, you know,

stand with the other leaders of society and contribute.

French New Wave, the Italian New Wave.

Those were the most powerful influences on American filmmakers at that time.

Films from Japan, which were extraordinary.

Films from Russia was still extraordinary.

I was certainly influenced by Bergman and Fellini.

The Felini's and the Godards and the De Sikas.

Rossellini and De Sica.

Rossolini first, and then Felini Visconti. Chufot and Romer.

Sot a giant Ray or Réhnet or Goudard.

The major influence on me was Antonioni.

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