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[Music]

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la

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[Music]

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Spaghetti Westerns um had begun well

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before Sergio Leon Germans and so forth

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wrote westerns even though none of them

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had ever been to the American West there

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was a kind of a European

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tradition and uh the Italians came along

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and so they started making these

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pictures often using slightly broken

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down American stars or stars like Clint

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who were on the

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rise was a very

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unpretentious I guess is the polite way

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of putting it the genre I mean you know

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it was mainly made for Europe and I

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think leonis were really the first to

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make any kind of impact in the United

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States they were looked on a scance

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because they so violated the long

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American tradition of how Western

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stories were

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told is one of the things that that

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Clint once said to me about that's what

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he liked about him they were Breaking

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All the Rules

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Leon is the only director of uh

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spaghetti Weston that made it in America

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by the way there were dozens I produced

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a uh spaghetti Weston

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myself there were dozens of them but

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almost all of them never played in

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America only Le onlyi pitures because he

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was Artful he was very very clever in

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the making of his movies he made them

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feel like real important pictures

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by the way he shot it and the kind of

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characters he

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used The Westerns done by other

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directors at the

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time uh were cheap films I was the one

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who started the Italian westerns and my

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films were cheap

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too uh the ones before seron so there

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there was no

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outstanding Western director B than Ser

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Leon at that time and even

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later because the Western General was um

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considered as something cheap not worth

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doing

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it while s only loves loved them and I

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love the

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Western we were doing very small budget

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films this wasn't the the high budget

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attack Italian film the first fful of

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dollars was a $200,000 film and that uh

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maybe a few dollars more than that you

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feel pardon the pun but uh they were

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very shoestring they had a German money

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in it and and and Spanish money and

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Italian money and those three entities

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were constantly arguing with themselves

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about who would pay what they'd always

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be arguing or reneging on the deal

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and walking off the set it was it was a

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great experience to look back on but the

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time it was kind of it was kind of funny

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I mean now it's very

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funny I always thought at the time I

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this thing will either do really well or

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it won't do anything probably the latter

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so I thought this thing's going to

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really bomb out but I'm going to get a

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trip to Italy and Spain I've never been

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either

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place if it if it did something if the

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dice came up 7 or 11 I I'd be uh uh it

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would be just a bonus

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deal we must remember that he always had

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a name in all three of these pictures

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the man with no name was was actually a

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marketing concept somebody United

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Artists came up with when they decided

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to bring out these three pictures in

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relatively close order but in this

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picture he's

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blonding Clint brought a lot of costume

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with him black jeans which he found you

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know just in a Levi store somewhere his

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gun belt was his rawh hide gun belt the

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cigars were bought near to Hollywood

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across from the farmers market in point

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of fact he wasn't a smoker but when he

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did have to smoke one he said they had a

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really foul taste he said put you in the

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right mood for the character and he

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brought that sheep skin um jacket that

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he wears under the sppy uh Robie was

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Sergio I think he bought that in Spain

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on the location actually but the the

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sheep skin coat which he wears quite a

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bit in all three of them was was was

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Clint's addition to the costumery of

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this

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movie it was kind of all pieced together

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and you never had duplicates and

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triplicates of anything in case

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something got lost in case something got

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damaged we had nothing I had one hat if

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I lost that hat I was I was a goner

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there was no way to match up to anything

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else so what I did is I took my wardrobe

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home at night I took it back to the

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hotel I took the hat and the Poncho

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which we only have one of I just kind of

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had to keep very very careful of track

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of everything and that's about

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it I was in California making another

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another movie and the age of said

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there's a there's a Italian director

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wants to make a a western and he wants

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you to be in it I said well how do

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Italians make western oh he said yeah

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spaghetti western I said spaghetti

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western sound like like um Hawaiian

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pizza I I never heard of it oh he says

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he he'll make a good Western he's made

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two others a fist full of dollars and a

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few dollars more so I met Leon was a big

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bear of a man and he said I I want I

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want you to come to Italy to make the

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movie he said see a piece of my movie

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and I saw the credits of one of his

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movies where his name appears and then a

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gun appears and shoots his name down I

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thought that's very interesting it shows

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he has an ego but he's willing to be

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shot down so I said yes where do you

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want me he said I want you in Rome a

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month from now and we're going to start

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making the movie I I arrived in in

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Italy the next thing I know I'm on a

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horse being turned in by Clint East

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would to get a reward for my capture

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because of a vicious

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Bandit and I had lines to learn and I

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put on this costume and there I was in

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the movie and I was playing this

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character too

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good let

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me you play with the man tied up come

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back come back and fight

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bastard Eli is a well he's a very very

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fine actor I was always a great admirer

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of his prior to doing this film with him

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and uh I mean even even afterwards make

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it sound like afterward uh but he was a

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just a great performer and very very

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versatile actor but he always had a

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tremendous amount of energy and he just

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enjoyed himself eventually he enjoyed

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building the character and putting it

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together with my character which much

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more on the stoic side though I'd play

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my humor in more of a rye fashion his

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was

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more where we I thought we made a pretty

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good combination you fy bastards come

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here I kill you I kill

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you such ingratitude after all the times

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have saved your life well I enjoyed

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Clint because

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Clint didn't say much but he had a great

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sense of observation and listening and

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that's of great strength in movies he

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doesn't seem to do much but when you

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look up on the screen there it is and

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it's

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wonderful we fly to Madrid and we're

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going to shoot in the southern part of

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Spain in a place called Al Maria

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Lawrence of Arabia they shot there and

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there in southern Spain you had the the

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water then you had desert then you had

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mountains so it could be very

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Western we were the only people in town

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that spoke English no coner

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know uh our serenas as they call them

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there and would would spoke English you

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just a small hotel everything was

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Italian or Spanish rather and

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uh people who spoke a little Spanish got

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by and if you didn't you if you ordered

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a milkshake you got a potato salad so

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you had to learn really

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quick Sergio didn't speak any English

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and I didn't speak any Italian when I

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first went over there he knew goodbye

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and I knew Riva de and that's about it

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Clint I don't know how he communicated

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but I communicated with broken French

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with Leone spoke pretty good French and

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that's the way we we communicated but

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after a month of shooting this movie six

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days a week 12 to 14 hours a day we

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learned to

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communicate you remember the gun shop

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where I put the gun together I said

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Serge I don't know anything about guns

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he said just take have fun

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and what I admired about him is he let

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me go through the whole thing of taking

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a gun apart putting together and I put

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things in like

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this you

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know and I shook the thing I did all

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kinds of crazy things that I had no idea

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were

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authentic cut he says good I like that

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finish a good movie director comes to a

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set early in the morning and walks the

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scenes through that he's going to do

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that day

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himself alone so he can think and

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concentrate on then once he's got it he

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relaxes somewhat you know the day is

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from 9 to 5:00 and that's said it's not

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like the old

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days he was so concentrated on what he

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wanted I mean there wasn't a moment of

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film that he printed that wasn't exactly

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what he wanted his pictures are

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wonderful

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[Music]

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not a lot of coverage he sometimes would

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do a shot three or four times because

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they were so paranoid in the early days

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especially not so much on The Good the

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Bad and the Ugly because that was a co-

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United Artist production and a fairly

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large budget but in the early days

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they'd do a couple takes because they

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figured the lab would screw up the first

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two or three or somebody would get

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scratched or somebody would drop it it

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was just all kind it was a very very

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halfhazard

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crew

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Leon didn't do much directing he knew

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what he wanted in his shot he knew how

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to set it up he had a wonderful

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cameraman named tonino deoli a little

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man who was brilliant with a camera

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Sergio chose tonoli as

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cinematographer he's one it's

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undoubtedly one of the best

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cinematographers in

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Italy in Italy the photographers are

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great it's atavistic you know it dates

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back centuries the talent these people

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have I mean when they attack went into

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high fashioned designing they took it

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over they're incredibly talented you any

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church you go into in Naples I mean in

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Florence especially or Rome there's a

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masterpiece of

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painting hey Pablo don't you recognize

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me it's me Toco on the set the actor

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spoke the language he knew there's a

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scene with my

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brother I I don't know the right thing

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he would watch my lips when I stopped

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speaking then he would talk what about

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our

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parents and I understood enough Italian

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he did it in Italian or French or German

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whatever language they spoke they spoke

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they didn't care if there were

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extraneous noises like you say oh the

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camera is making a little noise they

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didn't care about that just as long as

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the picture was clear you'd be doing a

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scene in in your ey line off of the one

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side of the camera or another you'd see

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a couple guys back there playing frisbee

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or making motions or telling jokes and

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you hear people talking and uh it's uh

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it's very very distracting and I I just

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kind of forged over it it gave me a

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reason to concentrate that much more

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intently they just weren't used to the

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quietness of a set where sound is a very

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important

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feature I'd make up a lot of stuff

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anyway and so would Eli we' just do the

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scenes and whatever that intent was and

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then but you did have to keep track of

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it because you're going to Loop it

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later there's an actor who lived in Rome

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named Mickey Knox who lives in Rome

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lived in Rome and Mickey they gave him

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the job of the

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dubbing I would sit at a a small moviola

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and go over the film or each the speech

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back and forth back and forth and had to

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fit in what I adapted in English into

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the lips with Eli and Clinton was easier

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than the others because they only spoke

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English and many times they was good

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enough I spent a whole morning on one

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line just two words in Italian there's a

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big closeup of a God saying to prisoners

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of war from the south and they're

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playing while they're torturing Eli the

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music is supposed to drown out the

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screams at one point they start to cry

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the musicians the line in Italian is

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pfor which means

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louder

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PE well I couldn't get it in PE for has

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two

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[Music]

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labials I was stuck on it until I came

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back from lunch and I thought wait a

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minute I got

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it more

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[Music]

329
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feeling KNX work was very important and

330
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very effective for this reason

331
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I don't give a goddamn what they do in

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Andersonville while I'm in charge the

333
00:15:03,560 --> 00:15:07,120
sink must have been perfect otherwise

334
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the American audience would look there

335
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was no sink and immediately the picture

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would be qualified as a poor

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picture you see in this world there's

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two kinds of people my

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friend those are loaded

340
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guns no you

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di you dick the major problem that I've

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always had in translating and adapting

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scripts from Italian English is the

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humor it's different American humor is

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not like Italian humor in many many

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cases I had to find the American humor

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and fit it into the

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dialogue see you soon I

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IDI

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idiots it's for

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[Music]

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you I didn't think I was funny in places

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people quote to me one line I said all

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the

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time when you have to shoot shoot don't

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talk I didn't think it was funny I think

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I was just shot a man and I said you

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wasted your time I'm going to shoot you

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that's all but for some reason it it

360
00:16:18,600 --> 00:16:21,519
turned out oddly and people took took

361
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pleasure out of this

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man is actually a trism of movies

363
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especially action movies that less

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dialogue is more and has more of an

365
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impact

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why yeah H yeah we're going for a ride

367
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where clinty was always arguing with

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Sergio for Less dialogue and

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[Music]

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you he thought that this guy should be

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really silent not have any Exposition

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whatsoever keep his comments to almost

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fragmentary sentences that's right

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$2,000 yeah what little dialogue Clint

375
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has tends to be very

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memorable for example in Good Bad and

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the Ugly when when he finally comments

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on the Carnage of the big battle at the

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00:17:17,360 --> 00:17:20,839
bridge never seen so many men wasted so

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badly that really zings out at you

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because he has up to now made no comment

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about the stupidity of the C conflict

383
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hasn't said a word but when he finally

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does speak that line it's very

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potent a couple steps back I think in

386
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good bad and ugly Clint's character is

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sort of mysteriously darker than he is

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in the others for example when he

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decides to break up his partnership with

390
00:17:52,120 --> 00:17:54,360
Eli there's no particular motive for

391
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that he just up and does it

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adios yeah maybe there's some backstory

393
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we're not privy to but you know this

394
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good scam they've got going it could go

395
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on for a long time with it and it just

396
00:18:06,480 --> 00:18:09,320
doesn't make much

397
00:18:09,360 --> 00:18:12,360
sense on the other hand he's also one

398
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the later passages of the movie more

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Humane than than he's been in his

400
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previous movies I

401
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[Music]

402
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think he's going a little bit more

403
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toward Humanity on the one hand a little

404
00:18:29,760 --> 00:18:31,720
bit more toward of kind of enigmatic

405
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Darkness on the

406
00:18:33,720 --> 00:18:37,360
other there's a little bit more range in

407
00:18:37,360 --> 00:18:40,679
this character

408
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[Music]

409
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look

410
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go

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[Music]

412
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[Music]

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go hey go go come

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[Music]