"Italian, a black-and-white movie. If you go to the internet, you can find it. Dino Risi movie, with Vittorio Gassman acting in it. And a French actor named Jean-Louis Trintignant. It is about somebody who is pretentious, who’s always speaking [loudly], always speaking about himself. And somebody in front who is shy. The story is about changing personality, and the moral of the story is, “If you want to change your personality, change with your own rhythm. Don’t try to imitate people.” [This was] reality because so many people try to imitate things that they have seen without any reasons inside themselves. They just want to imitate because they have seen that on screen or in a book. Instead of following their own rhythm, their own needs. I still remember that… long time ago. 30 years ago."

"Antonioni’s great L’avventura, La notte, and L’eclisse are yet another linked trilogy, though their stories and characters are as disparate as those of the Rossellini trilogy. It may be the director’s hyper-refined architectural style that we remember most in this film, people lost in its urban landscape. But Antonioni was also very much a child of Italian neorealism, as we can trace in his early films and documentaries. The long, wordless sequence, devoid of the main characters, that concludes this film is justly cited as a masterpiece of visual alienation and loss. But the hectic frenzy of the Turin Bourse sequence, a near standalone set piece in the middle of the film, shows the director at his documentary best, even as the camera smoothly glides through the rushing masses of stock traders with a singular determination of its own mission"