Pasolini's statements are certainly to be taken seriously to heart, but he wrote and said a great deal, and just a few aphorisms don't sum the man up. He in fact represents many cinemas. Accatone is one, Mamma Roma another, Il vangelo secondo Matteo another, Teorema another, the Decameron and Flowers of the 1001 Nights yet another. And the Greek things speak no doubt to his deep conflicts over his mother and father. The stories, from the Italian and Arabic and Middle English, represent an explosion of his love for. . . physicality, for youth, for sex, for nature. "Reality" is a colder entity.

I wonder: to what extent did Pasolini do his work because of his life experiences, and to what extent did he produce it in spite of them? There is much we have to study to appreciate his work: his life, his time, his culture, his language, and his literary and cinematic sources. But at the same time, his films speak for themselves.

Maybe the best of your quotations, applicable to more of his films than any of the others, is this one:

I have a tendency to always see something sacred and mythical, an epic quality, even in the most humdrum, simple and banal objects and events.

For some, Salo is Pasolini's most significant film.

Each of us finds something different to love and be awed by in his work.

(P.s. I envy you your ability to get hold of such a variety of arcane items, apparentlly without having to buy them. )