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.

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.

All the people I've met, many outside of cinema, knew everything perfectly about one thing or one subject or one area.

I think politics should be expressed in this way and not in other ways. And not just politics - sentiments, even certain states of being.

Just go to Disneyland. You have the impact of how the Americans think, how they dream, what they desire, how they have a good time, what they prefer. I associate this with young people. But many times I think this infantile quality is much better than the false, incomplete concept of adulthood.

I think that my films are westerns only in their exterior aspects. Within them are some of my truths, which happily, I see, belong to lots of parts of the world. Not just America.

I really do believe that the Jesuit system is better for a country.