them." Critic Roland Barthes claimed that Antonioni's approach "is not that of a historian, a politician or a moralist, but rather that of a utopian whose perception is seeking to pinpoint the new world, because he is eager for this world and already wants to be part of it." He added that his art "consists in always leaving the road of meaning open and as if undecided." Reception and legacy Bordwell explains that Antonioni was extremely influential on subsequent art films: "More than any other director, he encouraged filmmakers to explore elliptical and open-ended narrative." The Guardian described him as, "in essence, a director of extraordinary sequences," and advised viewers to "forget plotting, characters or dialogue, his import is conveyed in absolutely formal terms." Film director Akira Kurosawa considered Antonioni one of the most interesting filmmakers. Stanley Kubrick listed La Notte as one of his ten favorite films in a 1963 Poll. Miklós Jancsó considers Antonioni as his master. American director Martin Scorsese paid tribute to Antonioni following his death in 2007, stating that his films "posed mysteries—or rather the mystery, of who we are, what we are, to each other, to ourselves, to time. You could say that Antonioni was looking directly at the mysteries of the soul." American directors Francis Ford Coppola and Brian De Palma paid homage to Antonioni in their own films. Antonioni's spare style and purposeless characters, however, have not received universal acclaim. Ingmar Bergman stated in 2002 that while he considered the Antonioni films Blowup and La notte masterpieces, he found the other films boring and noted that he had never understood why Antonioni was held in such esteem. Orson Welles regretted the Italian director's use of the long take: "I don't like to dwell on things. It's one of the reasons I'm so bored with Antonioni—the belief that, because a shot is good, it's going to get better if you keep looking at it. He gives you a full shot of somebody walking down a road. And you think, 'Well, he's not going to carry that woman all the way up that road.' But he does. And then she leaves and you go on looking at the road after she's gone." American actor Peter Weller, whom Antonioni directed in Beyond the Clouds, explained in a 1996 interview: "There is no director living except maybe Kurosawa, Bergman, or Antonioni that I would fall down