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.

I've always had the sensation that people in America are always avant-garde. Very attentive to all the new innovations. But it's very specialized.

I am searching as Diogenes did with his lantern for all of these wonderful human beings. I haven't found them yet.

The function of the flashback is Freudian...You have to let them wander like the imagination or like a dream.

The important thing is to make a different world, to make a world that is not now. A real world, a genuine world, but one that allows myth to live. The myth is everything.

I consciously chose a person like the bounty killer [of the Fistful trilogy] because he was the street sweeper of the desert, a man who put his life at risk exclusively for the money. I'm not saying that he went against the law, but he put himself within the wings of the law only when it was something that he could profit by.

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.