Sometimes, I even recite the role to the actor if it's not clear. And I beg them not to imitate me, because I'm not a good actor.

Probably the greatest writer of westerns himself was Homer. His character were never all good or all bad. They're half and half, these characters, as all human beings are.

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.

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

The Jesuits use this kind of training, or, let's say it this way: The Jesuit General imposes this kind of structure; he encourages the young men to specialize. Because getting ten of them together, you have the best of everything. But this does not mean that this system is good for the Jesuits all over. They're all available to the cause.

Especially in gangster films, with the gangster's moll - she would always be more or less of an object. And I'm not convinced of this theory. Because I think even gangsters' women have brains. They think and even, as we say, have balls.

It's difficult to find new solicitations, new expressions. But this is talking about filmmaking. Cinema.