Rohmer: Rossellini is the one who turned me away from existentialism. It happened in the middle of Stromboli. During the first few minutes of the screening, I felt the limits of this Sartrian realis, to which I thought the film was going to be confined. I hated the away it invited me to look at the world, until I understood that it was also inviting me to look beyond that. Right then and there, I converted. That's what's so great about Stromboli. It was my road to Damascus: In the middle of the film, I converted, and I changed my perspective.
Narboni: You went through the same changes as Ingrid Bergman did in the film?
Rohmer: Yes, it's extraordinary! That's what I tried to show in my articles for the Gazette, to show that these values of grandeur, values that were completely rejected at that time, the resolution to create greatness using great means was able to exist through film, whereas the ideology at the time was to create something from nothing.