When I used Claudia [Cardinale] for example, in Once Upon a Time in the West, she represented the birth of American matriarchy. Because women had enormous weight in America.

I'm terrified by young people who are doing what they think is film making. What they're really doing is taking that convulsed, fast rhythm of commercials. It's not film making.

I didn't want [actress] just to be a woman standing at the window, waving hello and goodbye to men as they came and went in the world that they were struggling through. I wanted her to have a true function.

I've always felt that music is more expressive than dialogue. I've always said that my best dialogue and screenwriter is Ennio Morricone. Because, many times, it is more important a note or an orchestration than a line said.

From Ennio [Morricone] I ask for themes that clothe my characters easily. He's never read a script of mine to compose the music, because many times he's composed the music before the script is ever written.

I had more trouble than I had a sense of utility or satisfaction. But it served to occupy me and to keep me occupied in a field that I love - which was cinema - while I was waiting to realize the film that I wanted to do, which was Once Upon a Time in America, which took ten years of thinking and working to realize.

Young people of this century, like my son, didn't live through all those things that went on during that period of time, from 1930 to 1950. They're missing that experience. To go from a bicycle to a vehicle that takes somebody to the moon - only we saw this kind of thing.