that Kubrick identified with Welles and that this influenced the making of The Killing, with its "multiple points of view, extreme angles, and deep focus". Kubrick admired the work of Ingmar Bergman and expressed it in personal letter: "Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films. I believe you are the greatest film-maker at work today [...], unsurpassed by anyone in the creation of mood and atmosphere, the subtlety of performance, the avoidance of the obvious, the truthfulness and completeness of characterization. To this one must also add everything else that goes into the making of a film; [...] and I shall look forward with eagerness to each of your films." When the American magazine Cinema asked Kubrick in 1963 to name his favorite films, he listed Italian director Federico Fellini's I Vitelloni as number one in his Top 10 list. Directing techniques Philosophy Kubrick's films typically involve expressions of an inner struggle, examined from different perspectives. He was very careful not to present his own views of the meaning of his films and to leave them open to interpretation. He explained in a 1960 interview with Robert Emmett Ginna: "One of the things I always find extremely difficult, when a picture's finished, is when a writer or a film reviewer asks, 'Now, what is it that you were trying to say in that picture?' And without being thought too presumptuous for using this analogy, I like to remember what T. S. Eliot said to someone who had asked him—I believe it was The Waste Land—what he meant by the poem. He replied, 'I meant what I said.' If I could have said it any differently, I would have". Kubrick likened the understanding of his films to popular music, in that whatever the background or intellect of the individual, a Beatles record, for instance, can be appreciated both by the Alabama truck driver and the young Cambridge intellectual, because their "emotions and subconscious are far more similar than their intellects". He believed that the subconscious emotional reaction experienced by audiences was far more powerful in the film medium than in any other traditional verbal form, and this was one of the reasons why he often relied on long periods in his films without dialogue, placing emphasis on images and sound. In a 1975 Time magazine interview, Kubrick further