There's nothing gratuitous about my films.
Masters of Horror
I am young. I didn't know that. But I don't recognize myself. That's my problem with the mirror. I see only the ugliness.
My life and career is my own adventure.
The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.
I also don't like films that are made just to make money, no this kind of film I don't like.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
I've been lucky enough to have had the luxury of being able to make the picture I've wanted to make each time on my own terms and without compromise.
If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.
So I haven't thought about the critics for a long time.
Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
In each of my characters there is a little of me. Not strictly autobiographical but a little piece of my soul.
I'm very interested in portraying homosexual man and woman in my films because I'm interested in their lives and their problems.
The Opera was a very cold film, a hopeless and dark film, no hope, no love.
When I was five. That's when I started to love film.