Michelangelo Antonioni

Award won Role or nomination

1. 1912 age 0

   Born

2. 1952 age 40

   CreditThe White Sheikscreenwriter

3. 1955 age 43

   CreditLe Amichedirector

   CreditLe Amichescreenwriter

4. 1957 age 45

   CreditIl Gridodirector

   CreditIl Gridoscreenwriter

5. 1960 age 48

   CreditL'Avventuradirector

   CreditL'Avventurascreenwriter

6. 1961 age 49

   CreditLa Nottedirector

   CreditLa Nottescreenwriter

7. 1962 age 50

   CreditEclipsedirector

   CreditEclipsescreenwriter

8. 1964 age 52

   CreditRed Desertdirector

   CreditRed Desertscreenwriter

9. 1966 age 54

   CreditBlowupdirector

   CreditBlowupscreenwriter

10. 1970 age 58

    CreditZabriskie Pointdirector

    CreditZabriskie Pointscreenwriter

11. 1975 age 63

    CreditThe Passengerdirector

    CreditThe Passengerfilm editor

    CreditThe Passengerscreenwriter

12. 1995 age 83

    CreditBeyond the Cloudsdirector

    CreditBeyond the Cloudsfilm editor

    CreditBeyond the Cloudsscreenwriter

13. 2007 age 94

    Died

• TGTonino Guerra7 titles
• EREraldo Da Roma6 titles
• MVMonica Vitti5 titles
• GFGiovanni Fusco5 titles
• GVGianni Di Venanzo4 titles
• PPPiero Poletto4 titles
• CPCarlo Ponti3 titles
• EBElio Bartolini3 titles
• GFGabriele Ferzetti2 titles
• FAFranco Arcalli2 titles

• Partner

  • MVMonica Vitti

Nothing recorded for: Spouse, Parents, Children, Siblings, Influenced by, Studied under, Taught.

• 
  Photo:Bibliothèque nationale de FrancePublic domain

• My work is like digging, it's archaeological research among the arid materials of our times. That's how I understand my first films, and that's what I'm still doing...

  Michelangelo Antonioni, CC BY-SA 4.0

• Hollywood is like being nowhere and talking to nobody about nothing.

  Michelangelo Antonioni, CC BY-SA 4.0

• The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blow-Up.

  Michelangelo Antonioni, CC BY-SA 4.0

• I am not a theoretician of the cinema. If you ask me what directing is, the first answer that comes into my head is: I don't know.

  Michelangelo Antonioni, CC BY-SA 4.0

• The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autob

  Michelangelo Antonioni, CC BY-SA 4.0

• For me, from the moment when the first, still unformed, idea comes into my head until the projection of the rushes, the process of making a film constitutes a single piece of work. I mean that I cannot become interested in anything, day or night, which is not that film. Let no one imagine that this is a romantic pose — on the contrary. I become relatively more lucid, more attentive, and almost feel as if I were intelligent and more ready to understand.

  Michelangelo Antonioni, CC BY-SA 4.0