It is clear that the vehicle of the western was a very interesting vehicle for me to contraband some of my ideas.

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.

In my childhood, America was like a religion. Then, real-life Americans abruptly entered my life - in jeeps - and upset all my dreams.

You see in Once Upon a Time in the West the whole film moves around her [Claudia Cardinale]. If you take her out, there's no more film. She's the central motor of the entire happening.

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.

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've tried to consider stories that I have read, making them into films, but they would turn out unnatural. If a producer wants that, he should call other people. Not me.