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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.

Sergio Leone

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Sergio Leone
Age: 60 †
Born: 1929
Born: January 3
Died: 1989
Died: April 30
Actor
Composer
Film Actor
Film Director
Film Producer
Manufacturer
Screenwriter
The Eternal City
Bob Robertson
Become
Films
Going
Terms
Always
Type
Like
Winning
Endearment
Term
Extinct
Five
Pessimism
Didn
Oscars
Film
Anymore

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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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Cinema through spectacle, through the entertainment of spectacle, tells the story of many actual problems in life. Because who ever doesn't want to read between the lines can just enjoy the entertainment and the show and can go home happy.
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America is so varied and exciting that after six months, you go back and find it completely changed.
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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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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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From Ennio [Morricone] I ask for themes that clothe my characters easily. He's never read a script of mine to compose the music, because many times he's composed the music before the script is ever written.
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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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[The director] has to, I feel, be one step back, not only from cinema, but also from politics and all these issues in order to tell and depict the situation that spreads to people.
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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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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 had never thought of making a western even as I was making it.
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I realized than an author cannot also be a producer.
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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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The function of the flashback is Freudian...You have to let them wander like the imagination or like a dream.
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It's natural to me that someone who loved that type of music or that type of spectacle would copy it, to do something, a video. It seems the most natural thing in the world to me.
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There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.
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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 think politics should be expressed in this way and not in other ways. And not just politics - sentiments, even certain states of being.
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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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My films are often characterized by the lack of women present in them, except for this last one [Once Upon a Time in America].
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