All language subtitles for Brana E

What is your favorite Western of the ones
you appeared in and why?

My favorites?

I have a few from Italy but I've forgotten their names,
where I was the lead,

but my favorites are the ones with Clint Eastwood,

"For a Few Dollars More", for example.

Why?

Because "A Fistful of Dollars" was filmed before that one,
also by Sergio Leone,

I worked on that film with Sergio Leone
and he spent a lot of money on it,

and it bankrupted the Italian company.

And they told him, look, these Spaniards don't have
any money and we don't either.

so on that long road along the Via Veneto in Italy,
with the American Clint Eastwood,

we decided, let's see what we can do in Spain.

So in the beginning that film was going badly
because there was no money.

The village in Spain where we shot belonged to
Gregorio Manzanos and they didn't pay him.

It was a disaster.

I was working on 3 films at the same time, one in the East,
and I would arrive at night and then go back.

One day I got home late and went straight to sleep.
And so the movie seemed like it was a disaster.

But later on that film was number two
in the global box office.

From there the status of Sergio Leone, Clint Eastwood
and Lee Van Cleef started to rise

along with the rest of us who did spaghetti westerns,
so that was very good.

I always liked the Spaghetti Western because it was different.

They weren't like the old Western films

They became popular due to the success of this movie.

Then "For A Few Dollars More" was made
and had even more success.

And the Americans started to copy how Sergio Leone did it.

Understand? So in the beginning our Westerns in Almeria
didn't have any Americans in them.

but since I was in the Vertical Trade Union, I could see
that it was very important to have an American name,

because this would give us a sales advantage.

That's what I always said, and from there on we did more.

But we made good looking Westerns with the Italians
and they were good.

When did you start and why did you decide to become an actor?

By coincidence.

I wanted to become an actor since I was a boy,
but the desire later passed and I set it aside.

I joined the Civil Guard, because I was a son of a Civil Guard.

I worked as a miner for seven years, then I went
into the Civil Guard to complete my military service.

And I became a corporal in the Civil Guard.

And then I left the Civil Guard and went to Madrid
to work with a Minister

as a chauffeur, security guard, and everything.

And one day I felt like a failure, so I said,
"I've come down in the world, I have to go somewhere."

Then I met these students who had just finished film school

And they told me, "Why don't you come with us?

They were going to work on the film "King of Kings",
so I went with them.

And there were like one hundred fifty,
two hundred people there.

And the casting director chose only five people,
of which I was one

And from there I started out as a stuntman.

Margarita Delgras, who was daughter of Gonzalo Delgras,
was in the film,

and she told me that her father was making a movie

and she wanted me to work as an actor with him
because I was good looking and she thought I'd do well.

And that was my first film, 52 years ago.

Eventually I started to frequently work as an actor.

Also secondly as a stuntman, which worked out well for me.

This is how it went - every time I went to do a movie
they had my double wearing the exact same clothes as me ...

And the director would always tell me, "Bran, I want you
to do the stunt, you know I want to see your face".

And of course I broke a lot of bones and that's how it started.

So I naturally transitioned from stuntman to actor.

How was the casting done in these European Westerns?

In these European Westerns the casting was very easy.

There were very few people and they usually called you
directly because they'd seen you in an ad or something.

The problem with this was, with big actors like Fernando
Fern�n G�mez and a lot of important actors was their English.

I concentrated on studying English and went to London.
It helped me a lot.

Because when a director called you, maybe he called
2, 3, 4 others for the part,

or he only called you because of a photo or film
he'd seen you in,

The important thing was to speak to the director directly.

The actors would say, "Look", they'd say it in Spanish,
"I can learn my dialogue perfectly,

but what I can't do is have a conversation with you."

From there I started doing a lot of films - the American type
with the Americans, with Italy, with everyone.

I spoke to the director directly and showed him how my
character worked,

my method of acting with the eyes,
my appearance and all that.

And there it is. I've done a lot of these types of films.
I've done more films with these companies than anyone.

I've done more than fifty for Spain, and some actors
have done only two.

What actor impressed you?

Well, Clint Eastwood did not speak to anyone.

I told Clint one day, "Look, a friend of mine wants you to
go to his house to eat dinner with his wife and me."

And Clint was marvelous. We entered at 8 at night
and left at 3 in the morning. I was delighted.

He was very sweet. Very timid, but very sweet.
Very intelligent, very humble.

And he gave me the impression that American actors
are calm, good.

Was it a problem acting/communicating with the actors in the
production when each one spoke their own native language?

I never had a problem.

I listened carefully and I studied my lines as well as the ones
of the others, so I didn't have any problems.

How would you summarize your acting career now that
you've acted for more than 5 decades?

I've had a love for cinema since I was a kid,

but it was just chance that I went with those two friends
to work on that major film

that gave me the opportunity to talk with
the director Nicholas Ray.

Understand? For me that was very special and
I appreciated it.

In the beginning I wasn't afraid of anything,

but it was difficult when they called you for a film at the last
minute because another actor couldn't make it.

I remember one time with William Holden

they called me and I arrived late.

I had a few drinks that night and I arrived home really late,
and they called me to work at 8am the next morning.

They said, "Look, Mr. Brana, we need an actor.

We need you because we know who you're reliable
and you speak English."

When I saw that Fernando Arribas was working on the film
as cinematographer I said "Fine, fine, I'm delighted!"

The next morning they said, "There's a car waiting for you
in front of your house and William Holden is in it also."

And I said, "Fuck! Someone come and throw cold water on me!""

Fortunately everything went very well and
they gave me a lot of dialogue in English with William.

What was your favorite genre?

My favorite? I don't really have one.

I've done everything - Peplums, Robin Hood and Zorro films,
mad dog killers and modern day films, I played outlaw leaders,

all of them. Lawyers, judges .....

I've made many co-productions.

All this more or less because of my looks.

and the English. English was essential.

In your first Western in 1964, directed by Ramon Dorando ...

Torrado, Ramon Torrado.

With Frank Latimore and Diana Lorys

How did you find this role and how was it making
your first Western?

For my first Western they contacted me directly, because
I was just starting out.

I saw all the directors and Ramon Torrado did
a lot of movies.

He was a calm man who carried a lot of weight at that time.

He saw me in other films and liked what he saw.

He simply called. There wasn't a screen test
or anything like that.

He just said, "I want you to do this role."

And what about Frank Latimore, how was it working with him?

Well, Frank Latimore was an intimate friend of mine
for many years.

We were friends, I always went to his house, he came to mine.

I had a great friendship with Frank Latimore.

He was married to an Asian woman, a woman who
was very hard.

Do you remember any anecdotes about this first Western?

To tell you the truth, in hindsight it seems like
it was so simple.

Making a Western was like milking a cow.

The hard ones were ahead of me, so it didn't make any
real impression.

That same year you did "A Fistful Of Dollars".
Did you have the sense that it was going to be a special film?

No one had that sense, because, in the beginning, as I said
before, there was no money in Italy or here in Spain.

Jaime Comas, who was a board certified lawyer,
had a lot of money.

He tried to find a way to make it all work.

They rented the town from Manzaranes. but they also
didn't pay him,

so I continued to make other movies since it looked like
this wasn't going to be finished and was a disaster.

That's what most of us thought.

After that the Spaniards abandoned it because
there was no money.

The Italians maintained their support and moved forward,

and the Americans started to look at the rushes and it all
seemed good to them.

When we were almost finished they started to say
"This is going to be an important film."

What was your relationship like with Sergio Leone?

He wanted me in his whole trilogy -
I was like a good luck charm.

Actually Sergio was a man who feared getting on a plane.

A sweet man, but confident.

Very serious, always well prepared. You always had to
prepare your dialogue very well.

He wasn't violent. but he wouldn't be satisfied until all
the dialogue was spoken the way he wanted.

He did this with his hands, so we called him "The Clacker".

He did that with his hands, but he was very quiet. He signaled
what to do or say and he didn't care if it caused a delay.

No, he was too experienced for that.

I remember one day when I was shooting other movies in
Rome and, at the airport, the plane was really delayed.

I was flying as a tourist and this man comes, sits next to me
and takes my hand.

And it was Sergio Leone, and he said, "Franco,
I'm afraid we're going to die."

And I said, "Soldier on, we're not going to die."

And Sergio held my hand for the entire trip.

Later, when Sergio became rich,

Sergio started to take the chestnuts out of the fire.

And now in "For A Few Dollars More" Clint Eastwood
charged a million dollars,

The director a million dollars, and Lee Van Cleef
a half million dollars.

Incredible how much in a year and a half Sergio's
finances changed!

In 1964 you make "Ride and Kill" with Jos� Luis Borau
and Mario Caiano,

the part of the protagonist was Alex Nicol,
and with Claudio Undari, Luis Induni

My question is who directed this film because there are
two different directors listed. Do you remember?

Tell me the two names again ....

Jos� Luis Borau and Mario Caiano. "Ride and Kill".

I believe Mario Caiano did that one.

And how was it working with Alex Nicol and Claudio Undari?

Fine. Normal, very calm. Fine, good.

In '64 you made "Apache Fury" with Jose Maria Elorrieta.

You again work with Frank Latimore and George Martin.

In this film you had a bigger part and your name
changed to Frankie Bradford.

Why did you change your name?

The producers wanted to change my name to an American one.

It became Frank. No more Francisco. It was the same name
that an American would have.

And yes, George Martin worked in that film - I knew him.

Because in the beginning he used to work in films
carrying the lights, and he did that well.

And from there he became a stuntman.

He asked me, "I'd like to work as a stuntman, can you
take me with you to Madrid?"

So he came Madrid and started working as a stuntman,
and he had those good looks.

I introduced him for the first film he did, and he didn't
have any money.

Today he is a multi-millionaire in Miami.
Later on he dedicated himself to things other than acting.

He did a lot of fims as a star, I brought him into the business.

Do you remember anything about the film "Apache Fury"?

Yes. It was the story about a judge. Elorrieta played a lawyer.

Elorrieta was a saint. Working with him was like being
home with the family. He was very nice.

We would stop production to eat and we would go
to the Tajo River in the morning.

They gave us about and hour to eat and we would
leave for hours.

Not much else - it was all good.
I got along marvelously with Frank Latimore, I tell you.

Also in 1964 you finished "Two Violent Men",
directed by Primo Zeglio ...

Yes, Primo Zeglio.

with George Martin, Susy Anderson, Luis Induni. Did you get along
with George Martin and what type of person was he on and off set?

George Martin was someone who came from nothing.

George Martin was part of a gymnastic team.

And he was in the military when his team flew to Canarias
and the plane crashed, killing everyone.

He was the only one that survived from his team.

After that success came to him in a roundabout way.

He was in the movies as a stunt man.

There were only a few stunt men in Barcelona, and they would
send them home because they said they were worthless.

And we were going to Madrid. so this is where
George Martin asked me,

"Frank, can you take me to Madrid with you because
I want to work in movies?"

Besides, as a stuntman he was phenomenal.

He would throw himself twenty feet or whatever,
from the horses.

So I helped him get his start. Then one day the agent
that worked with me asked,

"Do you know of a handsome guy who can act
and has a good look?"

I showed her the photo of George Martin - "This guy?"
"Hell yes, this guy!"

From that point on he became a star.

We made that film in Candanch�.

In 1964 you make another Western with Amando De Ossorio,
"Tomb Of The Pistolero" with George Martin and Tito Garcia.

You will become a good lawyer.

So what do you all think?

You have won your first case.

Take the gold.

Do you have any recollections about this film?

The director, Amando De Ossorio, was my friend.

There was a cafeteria on the grounds where
the actors hung out.

Armando was a good friend of mine. He knew me from all
the things I'd done and he was delightful.

Amando was real talkative.

The filming was, how should I say, very calm.
Very friendly with everyone.

It was all very, very good - like being at home.

How was Jack Taylor as a fellow actor?

Well, Jack Taylor was an American who worked here
in Spain for many years.

He was a little older than me although he did not look it.

He was always good to work with as an actor.
He was humble when it was time to work.

And in those films, where it helped to speak English,

it worked out well because he was American and
good-looking.

After that you did "Murieta" with George Sherman.

How was it working with an American Director?

Very good. I've found the Americans to be phenomenal.

I had an experience with a new Spanish director ...

I asked him, "Listen, can I do this?"

He said arrogantly, "No. I'm the director here."
It was his first film.

Conversely, with George Sherman, I said, "I would like
to do this with a certain gesture ...

In the dialogue I'd like to stick a sentence here.
What do you think?" I don't remember the sentence ...

He said, "Say it. Very good, thank you!"

"Murieta" by George Sherman

How was it working with Jeffrey Hunter, who you
worked with in "King of Kings"?

Very well. I called him a friend ever since
"King of Kings". He was great!

And what were the principal differences between a Spanish
co-production and an American co-production?

Well, let's see .... there are some things that seemed strange
to me right from the start.

If you're talking about personnel making you feel at home,
the films in Europe were much better.

When it was time to eat, you sat in a restaurant to eat
and take a break.

However, with the Americans, you had to get in line
to get your allotment of food.

They had customs that were very different,
and one time I saw ...

Henry Fonda in line getting his portion of food,
and Sergio Leone cut in front of him and took something.

And Henry Fonda told him, "Do me a favor and don't touch the
food. Get in line like me. I've been doing this for many years".

And the director had to get in line.
These seem like silly ways, but ...

In 1965 you did "The Last Tomahawk", directed by Harold Reinl.
It was similar to his other German films in the Winnetou series.

Among the actors was Joachim Fuchsberger.

Do you remember anything about the film, cast, or production?

Yes, I remember a lot. That film, for me, was like being at
home. Like being with family,

because from the stars to everyone else, there was a familiar
atmosphere. Like a crew of friends.

There wasn't a voice that was louder than the other - perfect!

In 1965, you also did "Massacre at Fort Grant" with
Jose Maria Elorrieta.

The cast included German Cobos, Aldo Sambrell, Cris Huerta,
and Luis Barboo.

Do you remember anything about "Massacre at Fort Grant"?

Yes. I remember it was shot in a town that was owned
by a judge.

"Sunscorched" directed by Jaime Jes�s Balc�zar,
with Mark Stevens, Mario Adorf, Marianne Koch, Luis Induni ,...

Do you remember anything about "Sunscorched"?

Well, I remember that it was a film that was also very relaxed

because this one was directed by Jaime Jes�s Balcazar.

The Balcazars were two brothers.
Jesus was the younger and had been a priest.

I got along very well with him, you know?
He was a very calm and educated man.

And he knew the industry, and that was very important
as a director.

He knew the industry very well and worked comfortably.

Working comfortably is so important, because if the director
yells at you the first day, you know he'll be difficult.

Overall the directors weren't difficult with me.

Others would get mad with these kinds of directors,
but I adapted to them.

Tell me about Lee Van Cleef, if you knew him,
how he was to act with, and off the set.

Well, Lee Van Cleef was a normal guy,
but, he did not have the sweetness of Clint Eastwood.

He was a man who had done a lot of small films in America.

but what made him a star was "For a Few Dollars More".

That was when he started to become the Lee Van Cleef we
all became familiar with.

Because before that he was someone who made small films.

And as a person, he was normal, but not very friendly either.

He kept to himself and went about his work.
Understand?

And how was it working with Gian Maria Volonte?
He was a communist, wasn't he?

I got along wonderfully with Gian Maria Volonte, even
though we differ in our political beliefs.

However, we got along wonderfully.
But Volonte was violent.

He had a fight with another guy - what was his name?
The Cuban who lived in the United States ....

Tomas Milian. They had a rough one.
They got along by shooting at each other!

"For a Few Dollars More" ....

Well, it was a normal film at the time, and Sergio Leone
was already a rich man.

From the start he brought his own men with him during
the production.

I'm not saying they were killers, but they were that type.

They were security guards and that was different.

However, Sergio was always very sweet to me,
and he had money.

I stopped production one day .... I think it was in
"Once Upon A Time In The West",

Yes, I stopped Sergio because we had been working for
nine hours, almost ten ...

I was the one who specifically finalized the laws of the
vertical trade union - I finalized it myself for the most part.

I said, "The Spaniards will not work anymore today."

We faced off there for half an hour because
of those men who appeared to be security guards.

I've never seen Sergio act that way. He had changed.

I told him, "Look, the Spaniards have worked a full day.
The work day has ended, and also, it's Sunday."

I stipulated that we charge double on Sunday, or triple,

and you had to tell us beforehand if you needed to shoot.

So I was in the hotel looking at the note signed by Frank
Brana, Claudia Cardinale, Charles Bronson, and others

that said he had to ask permission for that - it's the law.

Finally Sergio said, "Please ... " He hugged me and stood
for awhile with me.

That was the end of that. In the end Sergio always wanted
me to be in all his films.

"Adios Gringo" was directed by Giorgio Stegani and the cast
included Giuliano Gemma. How was it to work with Gemma?

We got along very well. He was very sweet. Giuliano started
out as a fireman, and then became a stuntman.

So we understood each other very well.

Very likable, and we are true friends.
Very good friends.

Next is "A Coffin For The Sheriff" by Mario Caiano, with Anthony
Steffen, Eduardo Fajardo, George Rigaud, Armando Calvo.

Do you remember anything about this movie?

Well, yes, I remember a lot, because it was a lot of fun.

The star, Anthony Steffen, Antonio de Teff� was his real name,

Well, he was very soft. The man was 197 pounds, but
very soft.

We were always joking with him. I remember
one day we were doing a fight scene in the saloon

and his hand slipped and he hit me in the face.

And I told him, "You hit me in the face again, I'll punch
you so hard they'll have to bury you."

But you said that as a friend?

Yes, it was really nothing. We were all friends on that film.

Amongst all these personalities .... well, even my brother
had a small part - Gonzalo Brana. He looked a lot like me.

And what about the director, Mario Caiano?

I got along very well with Mario Caiano because I did
another film with him in Egypt, I believe.

Mario Caiano worked very fast. He knew what he wanted.

He was always engrossed in the script. I got
along well with him.

In 1966 you did "Mestizo" with Julio Buchs?

Yes, I remember that it was a film that was
common and rural.

I can't tell you specifics, but it was fine - a friendly
atmosphere. Very good.

And what about the star, Hugo Blanco?

Ah, Hugo Blanco, fine, he is a great friend. He's Argentinian.

He relocated to Spain where he began in film. He
is also a good actor.

Next is "Savage Gringo", directed by Antonio Roman. They
also list Mario Bava as director.

Who really directed it, Antonio Roman or Mario Bava?

Antonio Roman.
It was shot in Rome and Barcelona.

Recently I've seen Mario Bava credited as director in this film.

Well, the Italians put it there because they wanted an
Italian director listed in the film.

"A Taste Of Killing" by Tonino Valeri, with the protagonist
Craig Hill ...

Do you want me to comment about George Wang now?
Well, to me he was like one of the Spaniards there,

so I didn't treat him like an American.

He was from China, right?
And acted in Mexican roles ....

Yes, he played Mexicans.

And what do you remember about Craig Hill as an actor and
as a person?

Phenomenal! Craig Hill was a marvelous person and a
sensational actor.

Always with his dialogue memorized without any problems.

A good companion who ws agreeable to everything.
A really good guy ..

And you're still friends with him?
Yes.

You stayed in contact?
Yes.

"A Taste of Killing" was directed by Tonino Valerii.
He had been an assistant director in the first two Leone westerns.

Do you remember him working with Leone?

And how was it working with him?

Fine. What happens is, when you're an assistant to an
important director, the assistant is always the one yelling.

So the distinction is, the director was relaxed, whereas he,
as the assistant, was a bit nervous, bossy, but generally fine.

Then in 1966 you did one of the big, big European
Westerns, "The Big Gundown", which got a lot of publicity.

It was directed by Sergio Sollima, and starred
Lee Van Cleef and Tomas Milian.

Yes, yes.

You were one of the workers on Nieves Navarro's ranch.

Yes, I was the leader of the gang.

How was it working with Nieves Navarro?

Ah, it was very good and we were also friends.

It was very good with Nieves and with all the others.

Lee Van Cleef kills me in the end, but I had to do
another film in Rome, and things were left unfinished,

so my brother doubled for me.

You had scenes with Tomas Milian and Lee Van Cleef.
How was it working with them on set?

Very good. I got along very well with Tomas MIlian
since he was also Hispanic.

But Milian had a big temper. A very big temper.

I thought he was lewd.

Yes, he was lewd, but he was confrontational only when
someone crossed him.

Lee Van Cleef always kept to himself, very good, normal.

How was it working with Sergio Sollima?

Sergio was very sweet, very good - marvelous!

We did another film together around Italy
and I was delighted working with him.

He would put his hand on your shoulder and tell you
what he wanted.

And since I had experience with him, I had no problems
whatsoever. He was a very calm director.

Can you tell us about your casting in "The Good, The Bad,

Well, in reality I had very little to do in "The Good, The Bad

but Sergio wanted me to be in the beginning of the film.

However, I was doing another movie in Almeria.

But it went well and we ended up shooting an entire day.

Leone shot at a slow pace, because, since it was the
beginning of the film, he wanted to do it clean, well.

It was the day that I clocked in at ten hours.

And they paid me for it - they paid me double.

And how was Eli Wallach?

I got along with Eli Wallach very well, he was charming.

Eli Wallach, I believe, lived in Madrid with his
16 year old daughter.

Charming. wonderful. He was like an uncle -
your father's brother who lives in your house ...

who's the nice one, not the hard one - no, no, no.
Charming!

Next, in 1967 is "The Ugly Ones" directed by Eugenio Martin.

The cast includes Tomas Milian, Richard Wyler, Hugo Blanco,
Mario Brega, Ricardo Palacios.

Do you have any stories about this film?

No, I really don't remember anything special,

because in this profession I dress up as the character,
act as the character, and then forget it.

You have a very small role in this film - you die in
the beginning.

Yes, well to me it's the same whether the role is small or big.

How was it working with Eugenio Martin in "The Ugly Ones"?

Fine with Eugenio. He was always very proper.

I did another film with Eugenio before this one ...

where I met ... wait a minute - George Martin.

We're talking 49 or 50 years ago!

Next in 1967 you did "A Few Bullets More" directed by
Julio Buchs.

Yes, I remember that I was friends with everyone,
including the American star who died.

You mean the German Peter Lee Lawrence ...

Yes, Peter Lee Lawrence. I was a friend of his -
he liked me very much.

I don't remember much else. It was like being at home
amongst friends.

In 1967 you were in "Django Kill, If You Live Shoot!"
directed by Giulio Questi

with Tomas Milian, Ray Lovelock, Roberto Camardiel, Peiro Lulli.

This was your third film with Milian in a year. Any memories
of this surreal Western?

Well, this one was a film that consisted of actors with
minor resentments,

but other than that it was a good film.

A film that I thought was well done, well directed.
A film that I liked doing.

What were the conditions like working on this film?

Normal for me, because they all respected me
because I was tough. I always was.

I knew my place, but I was tough.
Most of the time everything worked out well for me.

In 1967 you did "Rattler Kid" directed by Leon Klimovsky.

The cast includes Richard Wyler and Brad Harris.

You previously worked with Richard Wyler in "The Ugly Ones".

How was he to work with?

Very good, very proper. The same - a good friend.

And what about the muscleman Brad Harris? Did he like
doing Westerns after doing the Hercules Peplum films?

I don't think he was very much into the Western genre,
but he did a good job acting in them.

And what about Leon Klimovsky?

Leon Klimovsky was very sweet - he was a very sweet man.

Next is 1967's "God Forgives ... I Don't" by Giuseppe Colizzi.
And in the cast, Terence Hill, Bud Spencer, Frank Wolff etc.

You're in the first scene after the massacre on the train.
Do you remember this film?

"God Forgives ... I don't" - ah yes, let me see ...
they called for me to have a big role in this film in Spain,

but it was a low budget film and I was doing an important
film in Rome at the same time.

I don't remember which one, but it paid very well.

So I turned it down because I thought the film was going
to be a minor film.

But it turned out well, and was a very acceptable film,
almost good, but they needed to shoot more footage.

They knew I was in Rome doing the other film and
knew it was coming to an end,

so I stayed five more days so I could play that character
in the beginning of the film.

How was it working with Bud Spencer and Terence Hill?

Ah, very good, but I didn't work with Spencer.
No?

No. That was the first film they did together. That's
where it all began when they became a team.

I've worked with Terence Hill and he was very sweet.
We got along marvelously.

I used to ride around in his car. I didn't know Bud.

What about the director Giuseppe Colizzi?

Good, very good.

And what do you remember about Frank Wolff?
He commited suicide later on after doing the Westerns.

Well, I remember he was a very introverted man,
but always a man that you could talk to.

Very calm, but introverted.

I saw something was a bit off in him, but it didn't register.

Next in 1967 you were cast again with Sergio Sollima in
"Face to Face" starring Tomas Milian and Gian Maria Volonte.

Well, I don't do casting. They'd call and say they
wanted Brana - period.

It's not like now where 200 people audition for one part.

This was the fourth film you made with Tomas Milian.
Was he different in this film?

Because he was known for being difficult to work with.
Very arrogant.

Tomas Milian had a lot of balls - he did not stand for any
sort of mistreatment.

I remember in "The Big Gundown" with Lee Van Cleef,
that he had to fall face down into mud in a pig sty.

And there were pigs there where we were shooting.

He fell face first into the pig muck. He was very professional.

He was a man who really believed he was correct in the way
he interpreted a scene and stood his ground to do it that way.

He would fight with anyone telling him to change it.

Like Gian Maria Volonte ....

Do you remember any incidents between Milian and Volonte?

Well, I know they barked at each other a little, like a
4pair of dogs, but nothing special.

And how was Sollima in this movie?

Sollima was like he always was - very sweet. It was
like being at home with Sollima.

In 1968 you did "Ringo the Lone Rider" directed by
Rafael Romero Marchent.

The cast included Peter Martell, Piero Lulli, Armando Calvo,
Jose Jaspe.

Do you remember anything about this film and its cast?

Well, I remember that it was one of the many films where
I had a good time. A very good time!

Frank Brana continued to make Euro Estern
untill late in the 70th.

He pased away in the year 2012 in Madrid,
at the age of 77.