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 can't see America any other way than with a European's eyes. It fascinates me and terrifies me at the same time.

I even had success with commercials, which is strange, because out of the six ideas, two won the platinum Minerva in France - it's the Oscar for their commercials. One was about the Renault diesel and the other about the regular Renault.

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.

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

The American public is a very specialized public. The reason it is taken as a realistic film is because inside the fable, I've put that kind of reality in. And it could easily be called, instead of Once Upon a Time in America, Once Upon a Time There Was a Certain Kind of Cinema. Because it was also an homage to cinema.