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

I work with intuition. With interpreters. I have my own method. I know exactly what I want from actors. Sometimes, I even recite the role to the actor if it's not clear.

My discussion is one that has gone all the way from Fistful of Dollars through Once Upon a Time in America. But if you look closely at all these films, you find in them the same meanings, the same humor, the same point of view, and, also, the same pains.

What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.

I'm terrified by young people who are doing what they think is film making. What they're really doing is taking that convulsed, fast rhythm of commercials. It's not film making.

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

There's my pessimism. Because I didn't know yet that type of film is always going to become more extinct, that there won't be anymore. Because there will always be more films that win five Oscars like Terms of Endearment.