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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.

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
Something
Video
Would
Type
World
Loved
Natural
Someone
Seems
Spectacle
Music
Copy
Thing
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More quotes by Sergio Leone

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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 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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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 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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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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My mother was an actress. My father was an actor and a director. I am the son of filmmakers.
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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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It's very difficult to be original.
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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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There are directors, and there are authors. I think I am more of an author than a director.
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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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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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It is clear that the vehicle of the western was a very interesting vehicle for me to contraband some of my ideas.
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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 think that men of my generation - not me in particular - are among the most fortunate men in the universe.
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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 have to be honest about one thing. When I want to America, no on asked me how I was. Everyone always asked me, How much do you make?
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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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I consciously chose a person like the bounty killer [of the Fistful trilogy] because he was the street sweeper of the desert, a man who put his life at risk exclusively for the money. I'm not saying that he went against the law, but he put himself within the wings of the law only when it was something that he could profit by.
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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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