Charlie Chaplin, too, through spectacle, contraband certain ideas, put them through, ideas that even today are not being expressed by great statesmen and politicians.

I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.

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.

I must be honest and say that I was under the fascination of films. I was fascinated by all films, even the words of them. If I was to do a more-precise analysis of the situation, I have to admit that I was more entertained by the bad films than the good ones. Because when something is beautiful, it is there; it is finished; it is done. It doesn't have to be touched or be worked upon.

The Jesuits use this kind of training, or, let's say it this way: The Jesuit General imposes this kind of structure; he encourages the young men to specialize. Because getting ten of them together, you have the best of everything. But this does not mean that this system is good for the Jesuits all over. They're all available to the cause.

The world is in America. In Italy is only Italy. France is full of France. Germany is full of Germany. In a continent that contains the entire world, contradictions are, of course, constantly arising.

It is clear that the vehicle of the western was a very interesting vehicle for me to contraband some of my ideas.