The public has lost the habit of movie-going because the cinema no longer possesses the charm, the hypnotic charisma, the authority it once commanded. The image it once held for us all - that of a dream we dreamt with our eyes open - has disappeared.
When I start a picture, I always have a script, but I change it every day. I put in what occurs to me that day out of my imagination. You start on a voyage; you know where you will end up but not what will occur along the way. You want to be surprised.
I don't believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there's one thing that's dangerous for an artist, it's precisely this question of total freedom, waiting for inspiration and the rest of it.
In 'Roma,' I wanted to get across the idea that underneath Rome today is ancient Rome. So close. I am always conscious of that, and it thrills me. Imagine being in a traffic jam at the Coliseum! Rome is the most wonderful movie set in the world... As was the case with many of my film ideas, it was inspired by a dream.
I'd like very much to make a confident picture. I would like to be as good as nature, which, with a shower, produces flowers and grass to cover the destruction. But we are surrounded by human fragmentation, by pessimism, and it is difficult to talk of other things.
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.