In 1962, future Pulitzer Prize–winning author Alex Haley sat down with jazz musician Miles Davis for what would become an institution of American journalism—the Playboy Interview. To celebrate the Interview’s 50th anniversary, Playboy has culled 50 of its most (in)famous Interviews and will publish them over the course of 50 weekdays (from September 4, 2012 to November 12, 2012) via Amazon’s Kindle Direct platform. Here, a glimpse at our conversation with Italian filmmaker Michelangelo Antonioni from the November 1967 issue.
“The script is a starting point, not a fixed highway. I must look through the camera to see if what I’ve written on the page is right or not.  In the script, you describe imagined scenes, but it’s all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you’ve given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.”
“A woman’s sex appeal is an inner matter. It stems from her mental make-up, basically. It’s an attitude, not just a question of her physical features—that arrogant quality in a woman’s femininity. Otherwise, all beautiful women would have sex appeal, which is not so.”
“That love is a conflict seems to me obvious and natural. There isn’t a single worthwhile work in world literature based on love that is only about the conquest of happiness, the effort to arrive at what we call love. It’s the struggle that has always interested those who produce works of art.”
“When I look into the sky, the colors of insects, snow crystals, I don’t need God. Perhaps when I can no longer look and wonder, when I believe in nothing—then I might need something else.”
“Method actors are absolutely terrible. They want to direct themselves, and it’s a disaster. Their idea is to reach a certain emotional charge; actors are always a little high at work. Acting is their drug. So when you put the brakes on, they’re naturally a little disappointed.”
“When I see a good film, it’s like a whiplash. I run away, in order not to be influenced.”
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