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Wow! Lucky you!
Just off the top of my head, I'd ask some broad questions about how he chooses his projects perhaps recent ones compared to when he first started out. What other composers he may have been influenced by and why. What are his thoughts or processes before he starts composing. Favorite Directors he's worked with and special experiences working with them. What are some of his own favorite scores and why and finally if he has other film composers he admires and/or their works and why.
BTW I'm no expert like plenty of the others you refer to around here so I hope they don't slam me too hard if these questions sound lame.
Lastly I did write a review for my site on a Morricone concert he gave here in Perth (Australia) you might enjoy:
http://thecinemacafe.com/the-cinema-treasure-hunter?category=Treasured%20Appearances
(Please scroll down to the first of the "Treasured Appearances")
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Mission to Mars - (much belittled movie-mostly deserves it)
Uh, why did you take that project?
What is with the organ (even though I like it)
What did you think of the movie?
How is it working with director Brian DePalma, you scored three movies with him?
The score for that movie was one of my favorite scores that year and has since become one of my favorite Morricone scores. It is also one of the scores that plays very well on album the way it is and is excellently sequenced, not chronological. For listening purposes, I prefer the order of cues Morricone came up with for the original soundtrack release. There is a real musical and narrative flow to the album, that stands very well on its own.
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Ask him about eclecticism. How did his 'pop' roots square with his obviously total mastery of the more tradifional post-impressionistic, almost concert style used in films like 'Hamlet' etc..
And does he feel that the synthesis between the Italian 'operatic' approach of Leone and conventional film music that he pioneered has ever been really assimilated outside Italy? Does he see himself as a one-off, or part of a line of development, and if the latter, where has that line gone now?
And how does he keep his inspiration and creative flows fresh after so many films?
Which lingo will you interview him in, by the way?
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I'm curious about what a guy who scores 400 films turns down. I figure he must have had U.S. offers since Mission to Mars (which is a wonderful score, and I like the movie too). Did his experience with What Dreams May Come influence his decision to withdraw from Hollywood? Will we see that unused score officially released?
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A couple of questions I would ask. How do you feel and how do you respond when someone comes up to you and says in all earnest, You are one of the greatest composers of the modern era?-question 2- Although it seems to be important to you from your work. How important do you feel the melodic line is for a film score?
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Good question but remember in Ennio's early days his modern technique was condemned by many of that era till years later. Page Cook I think right till the end. Being the type of diverse minded composer he is, he might not be to quick to condemned things that are different. But it would be a good question.
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I'm sure I could come up with other more relevant questions but right now I wonder why Il Maestro has always seemed to have very little interest in synth. music including during its golden age (mid 70s-->80s) Beware : I'm not complaining at all about it and actually you could even thank him in my name for not succumbing to the sirens' synth song. 
