Sergio Leone Quotes
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Whoever would like to look and see what someone is saying behind all the show, glitter, scenery, whatever it may be, and see what ideas are being expressed beyond and below and above that, can do that, as well.
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I am searching as Diogenes did with his lantern for all of these wonderful human beings. I haven't found them yet.
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The very fact of seeking specialization is probably what makes America so great in these two hundred years. But also, the sensation that somebody who wants to understand America doesn't really need to visit it much.
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Producing films was a distraction for me for which I payed dearly.
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I don't enter into particulars with Ennio Morricone. I give him the feeling and the suggestions of the characters.
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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.
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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.
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I was born in 1929, and in the 50 years from 1930 to 1980, I've been able to live an unbelievably varied century. Before, you could never have seen such intense change in a 50-year span.
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I've always believed that true cinema is cinema of the imagination.
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The important thing is to make a different world, to make a world that is not now. A real world, a genuine world, but one that allows myth to live. The myth is everything.
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I began to understand that 'America' in reality belonged to the whole world and not just to Americans. The idea of America had already been invented by the philosophers, the vagabonds, the dispersed of this earth, long before the Spanish ships got there. Those whom we call Americans have only rented it for a time. If they behave badly, we can discover another 'America'. The contract can be canceled at any time.
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I never worry about what they think about me. Because I feel so far away from what my Italian colleagues have done that I almost automatically become an isolated director.
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I'm not saying that the Americans had the same impact as the Jesuits, but I do see them as a very specialized populace, even in terms of being, to a degree, naïve. Because naiveté comes from lack of information.
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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.
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I've always felt that music is more expressive than dialogue. I've always said that my best dialogue and screenwriter is Ennio Morricone. Because, many times, it is more important a note or an orchestration than a line said.
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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.
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I can't see America any other way than with a European's eyes. It fascinates me and terrifies me at the same time.
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All the people I've met, many outside of cinema, knew everything perfectly about one thing or one subject or one area.
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As Claude LeLouche said, his favorite American director is Sergio Leone. Not because I would be American, but because I was dealing with subject matter that an American could have just as easily dealt with.
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I don't want to do a war film per se. Nor do I want to do a political film.
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I realized than an author cannot also be a producer.
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When I go to the cinema, I'm often frustrated because I can guess exactly what is going to happen about ten minutes into the screening. So, when I'm working on a subject, I'm always looking for the element of surprise.
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When you manage to express something with a look and the music instead of saying it with words or having the character speak, I think it's a more complete work.
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I must be honest and say that I was under the fascination of films. I was fascinated by all films, even the words of them. If I was to do a more-precise analysis of the situation, I have to admit that I was more entertained by the bad films than the good ones. Because when something is beautiful, it is there; it is finished; it is done. It doesn't have to be touched or be worked upon.