If a director takes the time to document - to step back to observe - I think it I more honest. Because it has to be the public that makes the conclusions and who, possibly, resolves the situation.

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

The best photographers are super nice people and that its not a coincidence. Great photographers genuinely like people, and people can feel that. That's what makes people feel comfortable. It is important to appear confident with clients, but it is more important to not be afraid to act like a fool, have fun, laugh and shake your hips to get people comfortable.

What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.

My discussion is one that has gone all the way from Fistful of Dollars through Once Upon a Time in America. But if you look closely at all these films, you find in them the same meanings, the same humor, the same point of view, and, also, the same pains.

It [film-making] really just has to do with my own ghosts and phantoms. And I have to say, in the end, it's just my way of seeing things.

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.