When I used a woman in my films or wrote a woman into my film, I wanted her to be a central point and a motivating point or a catalyst to function in the film.

I think even in American schools, they must be studying in a specialized manner.

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 realized than an author cannot also be a producer.

As far as commercials were concerned, I did very few, and I did them only when they gave me carte blanche to them the way that I wanted to. And I did them as an exercise, because I, who do very long films, never thought I would be able to tell a story in 30 or 40 seconds - you come across a whole new system and manner of approaching a subject.

The first must that any director has is to not force his public.

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.