"Here’s another film of which so much has been said and written over the years that you wind up thinking: There’s nothing left to say . . . But of course, that’s always a cop-out because it’s never true—there’s always more to say about a film, to see it again is to see it anew, to see it in 2014 as opposed to 1960 is a very different experience, and for some people it will literally be brand-new (to those people, I would say, simply: See it! Now!!). It’s difficult to think of a film that has a more powerful understanding of the way that people are bound to the world around them, by what they see and touch and taste and hear. I realize that L’avventura is supposed to be about characters who are “alienated” from their surroundings, but that word has been used so often to describe this film and Antonioni’s films in general that it more or less shuts down thought. In fact, I see it, more than ever, as a movie about people in spiritual distress: their spiritual signals are disrupted, which is why they see the world around them as hostile and unforgiving. Visually, sensually, thematically, dramatically, in every way, it’s one of the great works of cinema."

"…and it’s something that happens with Raging Bull, also. And Marty Scorsese’s notion of sound — the memory. Sound memory is so important in Raging Bull; when you see the scene where Robert De Niro shows Cathy Moriarty his father’s house and tells him about the bird — “It was a bird, it’s dead” — and what’s going on around in the street, and you realize how important sound is. The other thing is the acting: Joe Pesci and Robert are so great together. I mean, the hardest thing in the world to do is just shoot two people in a room. All these other things are very easy to do — you get 150 people, you turn your camera on, you create a situation and as long as nobody looks at the camera you can make them seem very real. [Two people in a room] is really difficult. If I think of Robert Duvall, say, talking to Al Pacino in The Godfather two, when Al says to him, “Well what’d you get my son for Christmas?” and he says, “I got him a little car,” and Robert Duvall puts his hand over the couch — these are gestures that people understand as human gestures and they bring you into the storytelling."