Sergio Leone Quotes
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Where life had no value, death, sometimes, had its price. That is why the bounty killers appeared.
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Even when I read a book, if the book leaves me the possibility of finding certain solutions or working on my own toward a solution, I prefer that much more than if the book fills me with the answers, gives them to me directly.
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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.
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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.
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I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.
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I admit that some of my ideas may have turned out to be pessimistic in nature.
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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.
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I think that men of my generation - not me in particular - are among the most fortunate men in the universe.
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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.
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When I was young, I believed in three things: Marxism, the redemptive power of cinema, and dynamite. Now I just believe in dynamite.
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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.
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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.
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I even had success with commercials, which is strange, because out of the six ideas, two won the platinum Minerva in France - it's the Oscar for their commercials. One was about the Renault diesel and the other about the regular Renault.
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Charlie Chaplin, too, through spectacle, contraband certain ideas, put them through, ideas that even today are not being expressed by great statesmen and politicians.
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In my childhood, America was like a religion. Then, real-life Americans abruptly entered my life - in jeeps - and upset all my dreams.
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I was born with this bow tie made of celluloid on my collar.
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If there is an auteur who influenced me - and there is only one - that is Charlie Chaplin. And he never won an Oscar.
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We're talking a very cultivated people, but I found as cultivated as they were, they were uninformed about the personages who weren't American. They knew everything about America, but much less about other countries.
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I always fish out antique ideas, very old ideas.
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I've always had the sensation that people in America are always avant-garde. Very attentive to all the new innovations. But it's very specialized.
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Young people of this century, like my son, didn't live through all those things that went on during that period of time, from 1930 to 1950. They're missing that experience. To go from a bicycle to a vehicle that takes somebody to the moon - only we saw this kind of thing.
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Women had enormous weight in America. And they still have. Because they are truly the padrone owners, masters of America.
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I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
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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.