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

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

Where life had no value, death, sometimes, had its price. That is why the bounty killers appeared.

It's a little hard to avoid putting both war and politics in, in that they both come into the activity, but on their own. My basic idea is to do a great love film set in the hell of 1942. At that moment, hell was Leningrad. Underneath all this, of course, is a film about dissension between the two most important countries in the world, the United States and the Soviet Union. I think it is a must at this point to talk about cooperation instead of the rancor and hatred and competition between nations.

When one goes to see Modern Times, for instance, one understands much more about socialism than listening to the man who was then head of the Socialist movement in Italy.

I realized than an author cannot also be a producer.

I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.