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.

It is hard to do a film that wants to say something because, unfortunately, most everything has been said.

I had always thought that the 'good,' and the 'bad' and the 'violent' did not exist in any absolute, essential sense. It seemed to me interesting to demystify these adjectives in the setting of a Western. An assassin can display a sublime altruism while a good man can kill with total indifference.

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.

There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.

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.

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.