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-"The Bounty Killer" this was your first one.
-Yes
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-Known as "The ugly ones" in the US.
-Yeah,
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-This was a role that you became familiar with
for several of your movies. After this.
4
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Good-looking guy, who was little on the sadistic side...
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- Well, this Western...
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I was coming out of my first five years in Italy.
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And after doing all the after doing all the intellectual movies.
8
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So and I wanted to come to America.
9
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To continue my career here.
10
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But I didn't have any money
always, you know,
11
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I mean the same story.
12
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Because I was on the contract with Cristaldi
and the were giving me a monthly allowance.
13
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So I had to do a movie to be able to make some money
and they offer me this one.
14
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But the character that I was supposed to portray,
15
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was just a bad guy just because he was bad
16
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and they did of just plain bad for the American to shoot.
17
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So then I called the producer and the director and...
18
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I told them that I wanted to work on the part with them...
19
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and give a reason of why this man was so...
20
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so bad, right?
21
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And then I put a kind of a social motive behind this...
22
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reason for his bad attitude towards life.
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And that's That's how I did it.
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-It makes for a very good movie just because of that.
25
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It would have been a pretty routine stuff.
26
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-Exactly.
27
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-In fact, you totally overshadowed
the other star, Richard Wilder...
28
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who was, I guess an american guy
who went over there to do...
29
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-Exactly. Yes.
30
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He was trying to be doing this...
31
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You know,
another panties were there.
32
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Everything that I have done is always my idea.
33
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- Wow. Okay. I was going to ask you that
because every one of your...
34
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even in the most routine movie...
35
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Your character has more character...
36
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you know, the most...
37
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It's not just another cop or it's not just another...
38
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-It's always created by me.
With the exception of...
39
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let's say the movie with Visconti.
40
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"Boccaccio '70",
he had very clear in his mind how he wanted this guy.
41
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- How was Susan George in "Sonny and Jed"
42
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-Fantastic, fantastic,
she is a very good actress.
43
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You know what happend with that movie?
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The producer was supposed to give me an extra $ 60.000,- ...
45
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at the time those were a lot of dollars.
46
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At the time.
47
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So was 1968...
48
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was supposed to give me 60 thousand dollars
when the movie was sold to America.
49
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And he didn't tell me
that the movie was sold to America.
50
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So somebody told me that it was playing 42nd Street.
51
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I call my agent, William Morris,
and I said, what happened?
52
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And I said, what should I do?
53
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And they say go to the movie house,
photograph, the Marquis...
54
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and ask for the director of the movie house
and asking for a letter...
55
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that he showed the movie.
56
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So, I went to 42nd Street at 8:00...
57
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and they told me the director
of the movie house was coming at 11:30.
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I went back at 11:30...
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Photographed, the Marquis,
ask for the director of the movie house.
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He Came out,
I had long hair to here, like, in the movie,
61
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A band in the head
and I came in asking for the direction.
62
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The, this man comes out with a cigar,
you know, very fat, big...
63
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And I said, Sir, I am the actor of this movie...
64
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that you're playing here tonight...
65
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and he said, get out of here.
66
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And I said, Sir, please.
I mean, look at the poster.
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Look at me.
He said get that fuck out of here.
68
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So he send me away,
he send me away, I didn't get my money...
69
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and the producer went to prison.
70
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Not because of that,
because he owed money to everybody.
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His name was Roberto Loyola.
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- How much of that was...
73
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was there any of that was ad-libbed that you did with her?
74
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It just seems so spontaneous
your dialogue.
75
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- No that was dogged.
76
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We did the movie and then we went to the dubbing room.
And we dropped it.
77
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- You always do your own voices in these things, don't you?
78
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- In the westerns?
In the westerns. Yes.
79
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And Antonioni yes.
80
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Bertolucci's lunar too.
81
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- All the lines were written?
82
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-No, no, for example, in ...
83
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Oh no no no, I always changed my lines.
84
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For example, when usually in these movies...
85
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were the directors are...
86
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Lets say, they are not intellectuals
but they are action directors.
87
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They don't care very much about the lines.
88
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The writer writes the lines...
89
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but for me to say well a line I have to feel it.
90
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And that's the difference between
a good line writer and a bad line writer.
91
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So then what I do is just adapt it to ...
92
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to the way of talking,
the way people talk.
93
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And in the series of movies...
94
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let's say of "Monnezza" and "Nico Giraldi"...
95
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the action movies.
Those were almost all my dialogues.
96
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I write my own dialogues.
8085
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