In the last period of my life I made displeasing films. They are displeasing in a society that asks for agreeableness to everything, even to commitment; if commitment is pleasant, and therefore does not annoy anyone, society will accept it, otherwise it will not. My features, on the contrary, go even past the sign of disagreeableness.
In Todo Modo there is plenty of unpleasantness and even a great pessimism. The same is true for Good News, where one almost trespasses on misanthropy. What is all this due to? Why do I make such films? Clearly it is because of a precise feeling that a point has been reached where all the conditions existing when I was a boy have vanished.
In concert with my producer and Gian Maria Volonté himself, I threw away the first two days’ shooting of Todo Modo since Volonté’s likeness to Aldo Moro was disgusting, embarrassing and sickening.
Director Elio Petri, commenting on the film ( “L’avventurosa storia del cinema italiano”)