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.

As Claude LeLouche said, his favorite American director is Sergio Leone. Not because I would be American, but because I was dealing with subject matter that an American could have just as easily dealt with.

When I was young, I believed in three things: Marxism, the redemptive power of cinema, and dynamite. Now I just believe in dynamite.

Just go to Disneyland. You have the impact of how the Americans think, how they dream, what they desire, how they have a good time, what they prefer. I associate this with young people. But many times I think this infantile quality is much better than the false, incomplete concept of adulthood.

It's difficult to find new solicitations, new expressions. But this is talking about filmmaking. Cinema.

I never worry about what they think about me. Because I feel so far away from what my Italian colleagues have done that I almost automatically become an isolated director.

Especially in gangster films, with the gangster's moll - she would always be more or less of an object. And I'm not convinced of this theory. Because I think even gangsters' women have brains. They think and even, as we say, have balls.