"After imitating my father and writing poetry, and then quitting writing poetry to get rid of my father, my first step into the cinema was as Pasolini's assistant. Pasolini was inventing a language and I was his assistant. All the love and passion one would expect from a bourgeois who chose Marxism at that time. I was a Marxist full of despair and arguments. We used to fall asleep at night with arguments and dreams, and at dawn we opened our eyes not to the morning but to the future. Our guides were Rosselini and Godard. Actually, I think cinema is always political, but all films made within the system are also open to exploitation by the system. .