I think women have always been considered objects, especially in the genre of westerns.

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 don't enter into particulars with [Ennio Morricone]. I give him the feeling and the suggestions of the characters.

I began to understand that 'America' in reality belonged to the whole world and not just to Americans. The idea of America had already been invented by the philosophers, the vagabonds, the dispersed of this earth, long before the Spanish ships got there. Those whom we call Americans have only rented it for a time. If they behave badly, we can discover another 'America'. The contract can be canceled at any time.

I have to be honest about one thing. When I want to America, no on asked me how I was. Everyone always asked me, "How much do you make?"

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.

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.