I realized than an author cannot also be a producer.

I realized than an author cannot also be a producer.

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.

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.

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

Cinema through spectacle, through the entertainment of spectacle, tells the story of many actual problems in life. Because who ever doesn't want to read between the lines can just enjoy the entertainment and the show and can go home happy.

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