All language subtitles for Ennio Morricone 2021

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Enio

He's a very mysterious character, even if he doesn't seem to be.

- "(Quincy Jones, composer and producer" - I
feel like I've known and loved him all my life.

It's serious, very serious

It is always...

Too immersed.

He has the amazing trait of always being himself.

But at the same time it is always someone else.

We are talking about a genius.

Ennio Morricone is a great exception to all the rules.

The greatest guide I could have had.
- "(Pat Mithany), guitarist and composer."

He has a great talent well hidden.

It explodes every time he writes something.

- He was deciding what the music would be.
(Bruce Springsteen, songwriter)

I've never seen such an amazing phenomenon as Ennio Morricone.

We are witnessing, and I will say so discreetly, a draft guaranteed masterpiece.

Watching Enio work

It's like watching an athlete.
- "(Roland Joffe, director")

It's a legend

Working with Enio was like winning a medal

His music is very creative.

It was new then and still is today.
(Clint Eastwood), director and actor

He is a very strange man.

was crazy,

That's for sure.

The entire world of Enio has yet to be discovered.

I never thought music would be my destiny

I wanted to be a doctor.

But my dad said, "No, he's going to study trumpet."

He sent me to the Conservatory of Music to study the trumpet.

That's how it went.

It was my dad who decided I was going to be a trumpeter.

I haven't decided anything.

You see, I was a kid

I was poor at toning,

I got a mark of 3 out of 10 in the first semester

And my father became very strict.

I wasn't allowed throughout the holiday to play bingo

Or any card game...

Then it got better.

I was six when my father taught me the triple key

He explained to me the location of the ringtones on the runway.

His father played the trumpet.

In a military squad.

He was playing in the cinema

Where they were performing variety shows.

There was a DVD player in my house.

And since I've been hearing "Franco Cacciatori"

I wrote music for hunting, for two trumpets...

That kind of useless stuff.

When I turned ten, I tore it all apart.

I started studying the trumpet when I was 11.

She obtained her diploma at the age of 16.

My dad used to tell me there was a boy...

son of a trumpeter,

He was going to the playing area with his music manuscript

and sleeps.

He was playing the trumpet...

He used to sleep when he was not playing.

Mario Riva was the presenter

At the Casino de la Rosie.

Ennio Morricone's father was there and they played together.

He was an exceptional trumpeter but my father was very strict.

He was very careful about spending.

He had the same trumpet his whole life.

When his father gave him a trumpet and said to him:

“This machine enables me to support you

And you'll do the same for your family."

It's all over.
- He bought me a used horn.

It was cheaper

He always bought what he could save money on.

He's a musician, he couldn't be anything else.

I remember that when the Germans were here,

then the Americans,

I was moving from hotel to hotel with a small orchestra.

They only gave us food in exchange for playing

They didn't even pay us.

Some of my colleagues were putting a small plate on the drums

For soldiers to donate.

The family survived only from the father's work.

At some point, Enio's father fell ill.

When he was small, he replaced him.

In nightclubs and entertainment orchestras.

Playing the trumpet to win food

That was terrible.

and this is...

I felt this humiliation.

So, I no longer like the trumpet.

You replaced my father

And I played until two or three in the morning.

I was getting up early in the morning

to go to a music institute,

Then I had to do my homework.

I was coming to the horn exam with a cleft lip.

I was tired.

My exam was...

normal.

I got a mark of seven and a half.

I was also studying integrative harmony.

I didn't stick to the rules I enriched it and made it thrive.

and Roberto Caggiano, my teacher,

He told me at the end of the course:

"Now you have to study composition."

And I did what Caggiano said.

this is...

Goffredo Petrassi, was one of the greatest composers

Classical Music in the Twentieth Century.

He was an amazing teacher for me.

When I was seven years old

I had to take a course in advanced composition.

There were two outstanding teachers.

Petrasse was one of them.

Music is an intellectual matter.

I studied his tracks, which I loved.

the way it was written.

Calligraphy, the beauty of calligraphy.

All harmony was not in harmony

Because it was adding something to it

Those tracks were a school in themselves.

I chose him, I chose Petrasse.

Morricone was always clear

In that he chose Petrasse as his mentor.

The Secretary of the Institute told me:

“Maestro, that is not possible.

Petracy's class is full of students."

I told him, "If you don't send me to Petrassy,

I will resign from this conservatory."

What you have to do

He is searching for the techniques of that composer

And adapt it to your style.

I was very shy at first

Because everyone in that class was brilliant.

Extraordinary composers.

Ennio Morricone's origins were more humble

compared to his peers.

It was an elite music institute.

In front of these giants, I was very young.

I almost felt humiliated.

I felt a bit lacking.

It was unusual for a trumpeter to study composition.

So, in my opinion, there was discrimination against Ennio Morricone.

The first thing Petrassi asked me to do

For a few months he was dancing.

Tarantella.

"purée".

Jig dance.

Boogie-woogie dance.

Samba.

I wasn't happy. He gave me no sign of his satisfaction.

At first I always had the impression

that even Petrassi underestimated Enio a little,

And that he wasn't interested enough in that person.

Finally, once you've finished the dances,

He explained to me Richercar's composition.

He commissioned me to compose "Richercar".

And then I stopped making mistakes.

He has given me great satisfaction as my teacher.

It was a sequential variation

Four parts, five parts.

That was very interesting,

The model that preceded the fugue

Who was pioneered by "Friscobaldi".

A century before Bach

Make a sequential variation by mixing two tunes together.

Those famous ten years with Petrassi.

She was the one where Enio was feeding

On bread and "Palestrina".

Bread and "Monteverde".

Therefore, he is good at making successive variations

More than anyone else in the world.

Petrasse was greatly influenced by Stravinsky.

So much so that he passed on this passion to Morricone.

I've listened to one of Stravinsky's finest pieces.

It is a "symphony of psalms".

Each tone is as written.

I heard it led by Stravinsky
when I was very young.

In Santa Cecilia, it was an exercise.

The door was open, only cracked,

And the orchestra was playing there.
this is good.

And I...

I've always been a fan of that track.

The piano, playing the piano.

When I was studying composition, I did nothing in front of my father.

I would stay in my room and write.

I write and write.

He was a very attentive and intelligent student.

I was happy and also optimistic about his future.

But I was studying and working.

He played the trumpet at the Sistina.

I was the first trumpet player added.

She played in all theatrical repertoires.

Walter Chiari, Toniazi (Rachel).

All comedians.

Daburto, Wanda Osiris, Makario, Toto...

The last show on the runway for the dancers was a beautiful thing.

I praised them and they are pleased.

I looked at them and mentioned all the American song titles

that you played in the past.

My dream".

And they were smiling at me.

But when the show ended, I couldn't miss the bus,

So I hid the trumpet and rushed home.

Play, maestro!

I was writing orchestras on berms.

Petrasse didn't know about it.

I found out later.

The first to call me was Carlo Savina.

Savina complained once

About the musical arrangement in a striking way.

Throw the musical manuscript.

Sometimes, I do some experiments.

Safina was calling me angry and telling me:

The sharp tone is missing

Or the low tone is missing

Or he says that some tone is not clear.

"Savina" was related to a rather old concept.

While the arrangements of "Moricone" music

It was very modern.

Come on.

one two Three.

My first cinematic experiences

She was in the movie orchestra where I played the trumpet.

(Othello), directed by (Orson Welles), 1951.

I played in some pretty good shows with Lavanino.

Franco Daciardi and Enzo Massetti.

From the soundtrack you played

That was for Alessandro Blasti's Fabiola.

In the final exam in composing,

We had to write an opera scene.

I made a double vogue.

Two consecutive themes and diversifications

About "Glacos" who was in a stormy sea

About to dock

And Circe, who was ready to seduce him.

And what I wanted to do was something quirky but very elegant,

Very curvy, very voluptuous.

I wanted to do all this...but I couldn't.

The committee included Guido Guerini, director of the Conservatory of Music,

Guido Turchi and Fernando Previtali.

Goffredo Petrari and Virgilio Mortari.

Completely contradictory characters.

Guerini didn't understand Petrassi's music.

There was some kind of competition.

So, he asked me a trick question:

"Why did I split a double tap bass presto

Where do you put the open chord with the upper octet?"

why did you do that?" Petrasse didn't let me answer.

He attacked the director.

"What kind of question is this?"

Petracy's wrath, yes.

I got a mark of nine and a half.

I remember it well because I got a mark of nine

I was very jealous of that nine-and-a-half mark.

I got out of the music institute

And as always, I accompanied Petrassy.

To 181 "Germanico Street", his home.

This time...

We both got emotional.

He was crying, and so am I.

He promised me and said he would find me a job.

He was meant as a teacher at the Conservatory of Music.

But nothing happened.

When I entered the military

They put me in the band right away.

The colonel assigned me to conduct the band's orchestra.

We played in the streets.

My love, Maria, was following me.

She was running.

She was very nice.

He married Maria, who was perfect between us.

Because she was like her husband.

She was a quiet woman.

Always smiling. We used to call her "The Lady".

When I finished my studies at the Music Institute

I was like a naked composer facing the world around him.

I wanted to protect myself from this loneliness.

So I wrote the first concerto for the orchestra.

My mom used to say

When it comes to my music choices:

Please, Enio, write me a beautiful melody,

beautiful song".

She kept telling me, "Write a nice song.

You always have to compose a nice tune.

That's how you'll be famous."

I could hear him playing from morning till night.

At the time, he was not yet composing music for films.

He was very poor

Maria was working with the Christian Democrats.

And without telling me

She was employed in Radio and Television "Italy".

on my first day,

The director of the center called me on "Via Teulade"

He said, “Maestro, I must warn you

You won't have a career here.

Also, as a composer, you can't play your tunes

on Radio and Television (Italy).

what am I doing here?" I immediately left work.

Thanks to Pettraci, I went to Darmstadt,

To the Contemporary Music Festival.

It was a confusing time for contemporary music.

John Cage came to Darmstadt to criticize her.

He did a concert

where he played only two notes on the piano,

He turned on the radio and then turned it off

Make a fuss, flip some pages...

The idea came to me.

I was surrounded by colleagues,

who were all alumni of composition,

Franco Evangelisti, Boris Purina

Aldo Clemente, Egesto Macchi, and others.

I told them, you're going to kind of...

Snoring, and you're making a laryngeal sound.

Then I performed...

at that moment,

The improvisational group Nova Consonanza was born.

It was a creative band.

They did not use traditional sound emitting techniques.

Those technologies have always been extreme.

We wanted to make painful sounds. We called it like this.

You weren't supposed to distinguish the sound of the trumpet.

I played it in different ways.

Put a hand in front of the bell, push the pistons halfway

To make a strange sound like meow.

It was terrible too.

Basically, it's a different way of making music.

They work with sounds

instead of melodies.

In fact, melodies were almost banned.

Enio was working with the melody every day.

It looks like a struggle, a cinematic stunt.

I used to do all the orchestration

Quartet "Chetra".

They were choosing songs.

They were giving me something like a notebook

And I had to turn that notebook into instruments for the orchestra.

They were choosing songs that people knew,

But they were using different words.

In each episode, there were many songs,

But they only gave me the notebook the day before the broadcast,

The next morning, we were recording.

So, I used to spend the nights writing.

He was what they called "the slave" in musical vernacular,

Which means making arrangements for others.

But his name will never appear on TV

Or movie music.

One of the first was chiconini.

great composer

He was working on a movie directed by "De Sica".

(The Last Trial), directed
by (Vittorio de Sica), 1961

I arranged this song and led this choir.

Maestro Ennio Morricone.

one day

The baritone singer arrived at RCA.

He sang songs from the thirties.

And I heard some amazing orchestration.

Maestro Morricone, the famous arranger.

The name "Ennio Morricone" was mentioned.

I was called to save RCA.

that was on the verge of bankruptcy.

With the "box", she was saved.

There was this sound and it was the sound of a can.

(Gianni Micha), (The Box), 1960

It all looked from the sixties.

But the can is a strange element that has nothing to do with the context.

The information is shocking to anyone who listens to the song.

Micha, the singer, was almost frightened,

But Enio was someone who was already looking around for cans

and recycles it.

People were accustomed to melodic music.

Italian music was very melodic at the time

So, this noise was new.

You used a typewriter as a musical instrument.

Yes exactly. A real written part played by a real musician.

(Eduardo Vianello) (rifle, fins
and swimming goggles), 1962

In the song "Gun, Fins, and Swimming Goggles"

We used tubs of water to make splash effects.

But the result was not what Enio wanted.

We tried to put cleaning supplies in it and we covered it

Because he wanted the sound of the dive to sound like...

water sound.

Every song had a touch of genius.

Mixing horns with female voices

A trombone with male voices.

A whole new sound.

He revolutionized RCA.

Dealers at that time were very boring.

The distributors were at RCA.

They are Morricone and Bakalov.

I asked for "Moricone" because I saw him as the most genius.

I wasn't wrong.

(Gino Pauli), (Taste of Salt), 1963

These things were very simple

And very successful.

Then I added some piano.

Composer's Dignity

What my teacher taught me

I felt I should use it

In the simplest professions, even the lowest,

Edited by musical principles

For the twelve-tone method

and convert it into tonal music.

Gianni Morandi (I was
driving at 100 km/h), 1962

He was adding color to these songs

and turns it into something else.

I do not deserve you"

"I don't deserve you anymore"

Gianni Morandi (I Don't
Deserve You), 1966

There were successive variations.

There was no reason for that.

An accompanying chord would have sufficed.

There were always successive variations.

(Dino), (I See It In Your Eyes), 1964

I think he invented the musical arrangement.

At that time, songs were only accompanied by music.

Before Morricone there was only accompanying music.

The orchestra followed the stringed instruments.

was the background.

He began to give character to the songs.

I was trying to add something superior to the song itself.

But I didn't think I was an innovator.

(Jimmy Montana), (The World), 1965

I could see him writing while he was talking on the phone.

He was writing the music arrangement.

Violin part, trumpet part.

And he was like this while talking on the phone.

He was standing in front of the piano

He looks at the keys and writes. writes the track.

He could imagine the sounds.

He looks at the keys and writes.

without playing it. He just hears it.

The music he has was here, at home.

The orchestra is conducted by maestro Ennio Morricone.

(Eduardo Vianello), (Tell Me About Yourself) 1966

Can you hear it? There is a trick, too.

Many musical arrangements.

You start with something very attractive, right at the beginning.

Led by Ennio Morricone.

He did an exceptional arrangement

Paul Anka with an amazing start.

Ten seconds of excitement.

The song began, and he sang.

(Paul Anka), (Anytime), 1964

Enio created the musical phrases

which can follow each other constantly.

It has become the hallmark of the song.

(Eduardo Vianello), (Too Nailed), 1963?

This technique immediately became song identification.

The greatest artists of that time

They wanted to work with Morricone.

I also worked with Chet Baker.

He was playing the trumpet in an unusual way.

So dark that it resembles a flugelhorn.

My father, at the age of 55, was losing his trumpet playing skill.

I didn't put horns in my work.

So as not to anger him.

This was a dramatic moment in our relationship.

And my mother used to say: Why don't you call your father to work with you?

I never told her he was no longer a great trumpet player.

So I didn't call his colleagues either.

I felt this was the right thing to do.

When he died, I started calling trumpeters again.

All he cared about was music.

He was so immersed in the music that nothing else mattered to him.

He was absent-minded, absent-minded the whole time.

(Gianni Morandi, (It's my fault)

For me, it did miracles.

"I don't deserve you", "kneeling near you",

If you weren't with me, the accordion.

The singles were being produced with a commercial intent.

So, you need to work on the rhythm.

Albums, very few sold.

So, I could use my thoughts there.

(Naples, Miranda Martino)

He was able to add educated quotes

In the song "Voice in the Night",

Started by Beethoven's Moonlight Sonata.

(Miranda Martino), (Voice in the Night), 1963

It was a dreamy piece by Beethoven.

I saw it fit a song called "Voice in the Night".

(Miranda Martino), (Sherripipin), 1964

He arranged "Cherebripin" for four pianists.

I used start...

start melody,

I took it as a cue to distribute the entire song.

And that distribution was a whole new invention.

I remember he once said:

There is only one distribution of the song:

which I set."

But he was explaining to you why,

He convinces you 99 times out of 100.

And once out of every 100 he doesn't convince you.

Zamperini wrote the song Kneeling Near You.

He did the first distribution of my music.

We went to the recording studio,

Enio climbed onto the stage and began leading the squad.

And we were listening to him.

I've been seeing lyricist and producer, Miliaci.

From the recording studio

He nods in displeasure.

It was very beautiful.

"It's not good, it needs some rhythm."

"There has to be a part in it that has momentum."

- So, what do we do now?
- "We have to bring him back."

He did not bat an eyelid.

He came home and wrote again.

The following Friday

He was a little nervous before.

He asked me to sing live,

So I started singing.

And Miliaci, on the other hand...

He was not satisfied.

“(Enio), that's not good either.

"It's still very quiet."

I told him, "(Enio), you have to redistribute."

"But this is a melodic song!"

We said, "You can't dance to her like that."

"I won't redistribute, bring someone else."

And they said, "You have to do it."

"Make her desperate, put some anger in her..."

So, he summoned everyone again,

Group of 40 or 50 people...

backup singers, eight of them,

Guitarist, keyboard, piano and guitar players

Also trombone and trumpets...

He came home angry and started writing again.

- The next day...
- He came.

"This is the last time, I won't try again.

This is the trash you like."

Throw it on the table.

"Take that pile of trash."

He got on the platform and started.

I remember that well.

the piano.

Miliaci was...

"(Enio), this is amazing."

"No, it's terrible. I don't like it."

But it was great.

Then he added all the responses.

I'll come back...

You on my knees...

(Gianni Morandi), (Kneeling Near You), 1964

And of course, they made the movie.

And Enio made his soundtrack.

It was clear that I was an eccentric music distributor.

A little more difficult.

I noticed he was less present at RCA.

"(Fascist)"

Luciano Salles knew me

He asked me to compose the music for the movie "The Fascist".

It was the first time my name had appeared on a movie.

(The Fascist), a movie by Luciano Salles, 1961.

It was a start, for example.

(Rod Cameron)

"Texas Fight" and "Lead Doesn't Argue."

They are the first two American Western films of Ennio Morricone,

Both are from 1963.

At first, he used pseudonyms.

No one knew that Ennio Morricone

Works on those movies.

Dan Savio was a friend of my wife

So I used her name.

He did not want to reveal to "Petrasi" and his colleagues

He works on American Western films.

I remember doing a horse riding scene with a guitar.

(Bullets Don't Argo), a movie
by (Mario Cayano), 1964

"Gunfight at Red Sands," a movie
by Richard Blasco and Mario Cayano.

Call me "Sergio Leone"

Because he heard the music of these two films.

Came to my house

He asked me to do the music for his movie.

However, I...

I knew that face.

And I said, "You're Leonie from Karissime?"

Yes im this person."

"I am (Ennio Morricone)."

They were schoolmates.

There is a beautiful picture

All students in their school uniform

You can distinguish "Sergio Leone" and "Ennio Morricone".

Two ex-school classmates reunite for work.

And they become inseparable.

On the same day he took me to see a Japanese movie.

Explain to me that "A Fistful of Dollars"

He had something in common with this movie.

"The Great Stranger"

"(Amazing) Ray"

Years ago, Enio had written

Arrangement for Western Music Album

An American singer.

I said, "Let me hear something from your work."

And he had an album with the voice of a baritone singer.

"(Amazing) Ray"

Very original arrangement of a western song.

I said, "Can you hear me the backing music?"

I took the entire distribution as you wrote.

Invent a new melody.

And ended with a whistle.

Enio called me and said:

"Give me a little whistle, I want to do something."

After that I told him, "Not so little whistle!"

This is how the movie "Festival of Dollars" began.

"a handful of dollars"

I was very surprised when I saw the
movie because the music was so unique.

It was a real turning point.

This is not what you would expect
to hear in an American Western.

At the time, no one had experienced opera
music to this degree in an American Western.

The composer's music was out of the ordinary.

Unprecedented tone.

We've never heard anything like this before.

Electric guitar, whip lashes.

Bevero machine.

Anvil, beeper.

- Bell - We have
set a new language.

It was a culture shock of the era.

(Festival of Dollars), a
movie by (Sergio Leone), 1964

When Sergio took me to the montage room to watch it

The fight between Volunte and Eastwood.

Use "Degouio".

Trumpet cut from the movie "Rio Bravo".

It was just right.

Leo Bravo, a Howard Hawks movie, 1959.

"We'll keep this up," Leonie told me.

I said, "Sorry, Sergio, I can't accept that,

You want to use a track that is in the main scene,

I'll just do the background music."

Do you hear that music? He asked the man to play it.

what is it?
- They call it "Degoyo," the song of doom.

And I said, "I'm resigning."

Sergio gave up on Diego.

But he said:

“Please, give me an imitation of it, it is very suitable.”

I thought of a song

I had written it years ago for a TV show.

It was sung by one of the great Peter Sisters,

A contralto singer with a deep and unusual voice.

I said, "I'll see Sergio."

His music helped dramatize
me which is a difficult thing

(Festival of Dollars), a
movie by (Sergio Leone), 1964

I gave instructions to Michele Lasrinza, the trumpeter

To do that flutter on the trumpet.

As in "Degouyue".

Best Original Score Award

Ennio Morricone for "Festival of Dollars."

Morricone, please give a short speech.

A short letter from Morricone.

- She did not expect
this award - No.

- Is this your first prize?
yes.

Do you work a lot on movie soundtracks?

It seemed too small to me.

He had that round face and these glasses

Like a character from the cartoon Peanuts,

Like "Charlie Brown", or "Linus" the adult.

Music (Ennio Morricone), directed by (Franco Ferreira)

Ennio was present in many Italian films.

I had so much fun listening and imagining.

How did he work with the director.

(Hands in pockets)

I took a lot of risks with two first-time directors.

I tried to make different music.

Feasts in the Pocket, a movie
by Marco Bellocchio, 1966.

Enio is conservative and a believer.

I like it

How he got so involved in an anti-religious movie.

I wrote a lullaby, sung with a female voice,

immersed in loud sounds

from a vibrating metal surface.

I'm glad I worked on this kind of movie.

It was not as commercial as the others.

Later, Sergio Leone and I went.

To see "A Fistful of Dollars".

And we admitted to each other that we didn't like it.

I didn't like the music of this movie.

I always encouraged Sergio in later films to forget her.

But he was insisting: "Put in the trumpet, put in the whistle."

(For a few more dollars)

Music: (Ennio Morricone)
Directed by: (Bruno Nicolai)

There was a friendship between them,

there was collusion,

But also a lot of discussions.

To move also violent discussions.

cut up.

(For View Dollars More), a
movie by (Sergio Leone), 1965

In the scene where Sergio wanted the trumpet,

I had an idea to quote the opening piece for Bach.

"Tukata and Fuga"

On a small "Re" degree.

The music of his western films, which he considers essential

had a structure,

Wisdom, intentional intent, which was impressive.

Sergio Leone in For a Few More Dollars

He began to understand the importance of soundtracks

Ennio Morricone in his films.

And he realized that Morricone was starting to build an audience.

After a long time I met Petrassi and he said to me

He likes my movie music very much.

He mentioned a movie I wasn't expecting.

For a few more dollars.

I was so shocked.

Because I thought I wrote better music than that.

He said, “However, I know you will make up for it.

I know you'll make up for it."

I don't think Petrassi liked the work he did.

I also didn't like it very much.

We were really, in a way...

are old.

What do you think of the cooperation

Between the composer and director in film music?

I think it's totally anti-art.

Composers who graduated from the "Peterassi" school

They did not have a positive opinion of my work.

My work with cinema.

It kind of isolated me.

He called me once when he was young

It was very impressive.

He said I was observant while he was a traitor.

He was puzzled, because the environment forced him to.

who are you? Are you this or are you that?

Enio had an inferiority complex of some sort.

for abandoning the purity of the composer,

See "Peterasi".

But Petrasse has betrayed that idea more than once.

(Petar Rice), film by (Giuseppe de
Santis) music (Goffredo Petrassi), 1949

Petrasse also made a soundtrack.

But Petrassi was not considered

movie music real music,

Whereas, Enio considered it that way.

Before the Revolution, a film
by (Bernardo Petrolucci) 1964

Petracy couldn't understand

What was so special about Enio?

His ability to identify with the situation, with the scene.

Petracy didn't have that ability, like I did.

And I guess even Petrassi wasn't completely empty

from an inferiority complex.

I also worked on The Bible,

Directed by a director named "Houston" I think.

He put a lot of effort into writing that music.

But Houston did not accept it.

Because, he said, it was very difficult.

So, I think it's the end of my work with cinema.

It seemed like fate, an unjust fate.

I was called by Dino De Laurentiis...

To replace my Petrassi teachers.

Audition music for Ennio Morricone based
on images from John Huston's The Bible.

The music was co-produced by

RCA and Dino De Laurentiis.

And Dino told me, “Make a cut from creation.

We'll give it to Houston.

And if she likes it, she'll work on the whole movie."

I simulate light.

Water droplets then widened and swelled

Then it exploded with fire.

Then the animals and birds...

All this dynamic, then it started again.

Audition music for Ennio Morricone on
John Huston's "The Bible" movie clips.

Maria went to a synagogue

And I took some ancient Hebrew texts

Which "Enio" turned into music.

Houston came several times. De Laurentiis came several times.

They all looked very happy.

I got the job.

At that point, DeLaurentis told me:

What do we care about in RSA?

Just work on the movie with me."

And I said, "I have an exclusive contract with RCA.

I can't be so rude to them."

I went to the RCA and spoke to the president.

I said, “This is a great opportunity for me, unique, rare.

Let me work on The Bible.

"No, you can't do that. You have a contract with us."

And I didn't, of course, I didn't.

After all, Petrassi's point is clear.

He says writing is for cinema and commercial music

For an academic musician, it's like prostitution.

Therefore, it is morally condemned.

sinner.

sinner.

At first I felt guilty

But I gradually got rid of this feeling.

So much so that I wanted revenge by writing.

I wanted to conquer...

this...

guilt.

(The Battle of Algiers), a
movie by (Gillo Pontecorvo) 1966

The first movie I watched for "Enio" was "The Battle (Algeria)".

And I was amazed at the way music created
a world that doesn't exist on screen.

Gillo Pontecorvo asked to meet me.

I did not expect such an important exit.

I was afraid because he was different from the others.

He was a big man.

(Battle of Algeria)

A film by Gillo Pontecorvo.

I even wrote this piece...

One of my variants was the Frescobaldi idea.

There were three tones:

No, low C and normal C.

Then the opposite movement: "Fa" is sharp, "Fa" is normal and "Mi"

It's about what you've learned.

I am made of everything that represents music,

The music you studied.

A little to your left.

Pasolini had a list of records

I had to put it in the movie.

So, Maestro, he said to Enio,

I want this part of Bach here.

I said, "Excuse me, but I'm a composer who writes music,

I don't take other people's music and put it in a movie,

this is not possible.

I have to refuse."

"In that case, do whatever you want," he said.

(The Hawks and the Sparrows), a
film by (Piero Paolo Pasolini), 1966

I wrote that tune

Between serious and funny.

It was written "The Music of Ennio Morricone" and sung...

I sang a laugh of some kind.

Until that moment, it was Pasolini.

Uses "Bach" music only.

Then he switched to "Moricone".

(The Good, the Bad and the Ugly),
a movie by (Sergio Leone), 1966

You were a boy in the cinema and
watched The Good, the Bad and the Ugly?

That's when I knew there was something
different going on that you hadn't heard before.

And that was the first time I wondered
who the person behind the music was.

I felt like the music of the first "Sergio Leone" movies

less than I can do,

Because I was subject to Sergio's flaws.

Then I came up with the idea which is howling coyotes.

I went...

It's dramatic yet fun and I liked him very much.

"the good"

"Ugly"

"villain"

The guy understands the guitar.
He is the best guitar player.

It was the most creative music I've ever heard in the cinema.

The only movie I got out of and I
rushed to buy the movie's music.

I grew up hearing "Ecstasy of Gold".

Running among the graves and searching for "Arch Stanton"

(Arch Stanton, February 3, 1862)

Let's focus on Ennio Morricone.

Enio, do you realize that your story is unique

In the history of Italian music?

achieved the most sales twice in two years,

Two albums with soundtracks for two films,

They achieved a tremendous and astonishing success.

I was lucky.

I don't see it. You are witty.

I went to spy.

You bribed a movie show employee.

I went to the transcriber and tried to see his music chart.

From following his work, I know that he is an artist who did not seek fame.

This is Maestro Morricone.

You may not recognize his shape, but you know his name.

Morricone specializes in Western film music.

Of course, I was shown every Western movie from that period

And I had to work on it because that was my destiny at the time.

(Maurizio Graf), (Angel's
Face - Pistol for Ringo), 1965

Fun story about Enio:

You make a movie and show it to him.

The first time he watches the movie, he falls asleep.

He's sleeping like a gunslinger in western movies

The one who looks asleep and then shoots you first.

(The Big Gundown), a
movie by (Sergio Solima) 1966

Directed by: (Sergio Solima)

He saw it anyway, he already knew,

What he said was really accurate.

(The Great Silence), a movie
by (Sergio Corbucci) 1968

In "The Great Silence" by Sergio Corbucci

Everything was filmed in the snow...

It's all on the snow.

The horses ran without making any noise.

The hero's character was dumb.

Corbucci told me:

"This is the best music you've made for me."

I said, "Thank you, Sergio, because you can hear it."

In movies, mixing sounds without balance

can damage movie and music,

It's just an add-on to the movie and not necessary.

But if we want to hear it, we have to let it be free.

(Keep Play With Me), a 1968
movie by Salvator Sempray

There was a period when I tried to lower the tones

In order to communicate something the audience can remember.

(Mina), (If You Call Me), 1966

One of my first thoughts came to me

I pay the gas bill.

It was "If You Call Me"

The one that Mina asked me for.

And I tried the three tones for the first time.

It was three and at the time of 4/4.

The tone does not fall on the same tone.

It was a very important discovery of tonal music,

Because it became more attractive.

See? It's another tune.

The three tones...

It's always there but it's different for every scale.

It can repeat the same thing without making it expendable.

I've never stopped experimenting with fewer tones,

Because I've always liked to entertain myself.

Enio was at the piano and he said to me:

"Now I'm going to play you two crossover ideas."

I often write two thoughts without realizing it,

One idea intersects with the other to make it more flexible.

(Love Circle), a movie by
Giuseppe Patrone Griffi, 1969.

He played two cross ideas for me.

I'm not ashamed to say I didn't like the idea.

I told the director, Peppino Patroni Griffi:

“I advise you to refuse this, be patient and listen to me.”

He told me I was crazy.

I found the "Circle of Love" music great.

this...

Because it is simple, it is the current trend in music.

Peppino was right,

Because I can't judge my own thoughts.

That's why, from that moment on,

I made my wife listen to all the thoughts I write.

If you like it, play it for the director.

The directors only heard the tracks that my wife liked.

I remember Enio was never alone.

Maria was always with Enio.

This is the woman who was a mother, wife and partner

But she was looking forward to his talent in a wonderful way.

Because it is a sacrifice out of love, she was the first to applaud him.

She is not familiar with music and can give me an honest opinion.

This is what I've been doing for years.

You have created a protected space

So that the genius of "Ennio Morricone" can work freely.

I always wondered how Enyu could be at the same time

Film and experimental musician.

When I write for films, I am a composer.

When I write for myself I am someone else,

So I became a very diverse and antithetical composer,

So I feel like I have two sides.

Voices for "Dino" by "Ennio Morricone"

by Dino Ashula and the recorder,

Musically expresses the author's opinion

About disturbing issues in today's society.

They asked him in the interview:

How can a composer of western films filmed in 'Europe'

To have this experimental nature?"

He never gave up on experimental music

He even tried using them in movies.

A movie by Elio Petri.

When Elio Petri first met me he told me:

"I work only once with the composer,

So keep in mind that this is our first and last movie together."

(Aquit Place in the Country),
a movie by (Elio Petri) 1968

You made very difficult music

But the main character was an existentially confused painter

And it felt right to call

Improvisational group Nova Consonanza

in which I was playing.

And the composers playing in the
improvisational ensemble (Nova Consonanza)

I used my previous combination of 11 violins

To which I added percussion instruments and a female voice.

We improvised in front of the movie with the dreams of the crazy painter,

So, the paints were seeping, and the boards fell off,

Music somehow replaced the noise.

The film and the music were admired by critics

But the movie failed.

I felt responsible for this failure.

A movie by Sergio Leone.

During a concert in Florence

A theater worker went up on stage

He took a ladder and started shaking it.

The old wood was making a sound...

(Once upon a time in the West),
a movie by (Sergio Leone) 1968

Ten minutes later that man left and the party was over.

(Lionel Stander)

I said that to Sergio...and he understood.

The first 20 minutes of Once Upon a Time in the West are concrete music.

Executive Producer: (Pino Chiconia)

It was the result of what happened with the ladder in Florence.

In a way, the noise was music.

That character plays the harmonica more than she speaks,

So, it's a sound.

To entrust a large part of that character to Enio.

It means putting your destiny in his hands.

It is no coincidence that my father did not work with another musician.

Morricone is very good at creating a character with voice.

It is very seductive music.

She seduces you, possesses you,

stuck in your head.

They gave me music and I just read and played it.

I didn't practice it first.

I heard it's a beautiful tune.

The music we've been listening to our whole lives.

It has become part of the fabric of our daily life.

Sounds, noise, tone and tone.

short phrases.

Enio uses it for what it is.

Tones are like building materials.

The same bricks in all the buildings, but the buildings are different.

It was the bricks he used to build his cathedrals.

I didn't want to be labeled as a person

Who composes music for western movies only.

Latwada encouraged me to write symphonic music.

All stringed instruments, but especially the violin.

And I tried to make real symphonic music.

(Froline Doctor), a movie
by (Alberto Latwada), 1969.

Actually, my hardest piece is another one.

(The Sicilian Clan), a movie
by (Henry Verneuil) 1969.

The music for the movie "Cecilian Klan" is demanding.

Good evening, Mr. Malanese.

I hope you are not too surprised to see me.

I told you, come whenever you want.

This was the first blueprint for the main idea...

Then I added as a successive variant the name "Bach".

"Si" are low and "no", "do" and "si" are normal.

This constitutes the name "Bach".

He created a cascading variety that I managed to collect

Between each part and its own sound,

drums, double bass,

And all the machines that go into the track.

I changed the order of the name "Bach",

And behind that...

funny thing

In the idea in which you put the name "Bach"

There is a Sicilian idea.

The first time you hear it, it sounds like it's cut off...

But no, it hides a huge amount of knowledge.

All composers were fascinated by the idea of the name "Bach".

But this is not important.

Ringtones are no longer important.

What matters is what the composer does with it.

"(The Cannibal), a movie
by (Liliana Cavani) 1970"

Names, names!

I've already modified the music

Film "The Cannibal" by Liliana Cavani.

In the same building, Jello was adjusting the fire.

And from afar a chorus of that music was heard.

When Liliana Cavani wasn't there

He went to the montage room

And he took the tape on it that cut it.

Install it on his beach scene and it fits perfectly.

That music in my movie sounded

As a secular hymn to freedom.

We quarreled.

He wanted me to take that piece from Liliana Cavani.

I use it in the movie Kimada.

Exhausted Jello told me:

"Okay, then write me something similar."

(Kimada), a movie by
(Gillo Pontecorvo), 1969.

I noticed when I saw the movie "Pontecorvo",

That the topic is taken from "Kanibal".

It was clear that they were the same!

They were different, but the same.

I got into trouble.

I remember when he once told me

"Do you want to improvise (Apollison)?"

Suddenly, when I was going out to the theatre.

naturally!

The woman's voice was very important in the Enio choir.

It was necessary to have a woman's voice

The human voice is magical

Because it comes from our bodies,

without the need for a machine.

By the end of the sixties,

Ennio Morricone was a guarantee

For producers and directors.

In 1969 only,

He released 21 films with his music.

(Lady Califf) by (Alberto Bevilacqua) 1970

Enio's great success made others jealous.

Not only were they jealous, but they imitated him as well.

Then envy turned into slander.

"You have 18 films in one year,

how it would be?

You didn't do it all, did you?"

He sat like this.

He was quick to write music

So much so that he seemed to be writing a letter.

His thoughts were evident in imagining music.

It was clear and simple.

How many films have you composed the music for?

I don't know... I didn't make it back.

In Enio's biography,

Each part is a different chapter of
further knowledge and investigation

And more adventures in music.

Elio Petri and I were sure.

that we will never work together again,

But he called me in all of his next movies.

In the movie "Inquiry with a Citizen Above Suspicions"

I wrote a small arpeggio note.

During the merge, Elio called me.

Show me the first part.

And I said, "What is this, Elio?"

He changed the music.

Use the music written by

Years before that for a terrible movie.

Elio said to me, "That's great.

Look, Polkan is about to be killed,

See how successful the choir will be."

Editor Rogerio Mastroianni

It was on my left.

"(Enio), don't you think that's cool?" he said.

I replied, “How do you like this music?

for this scene?

It doesn't suit him."

I gave up slowly.

I told him, "Do whatever you want."

turn on the lights,

Elio said something

It still affects me when I think about it.

I composed the best music I can imagine

You should slap me in the face."

(An interrogation with a citizen above the level
of suspicion), a movie by (Elio Petri), 1970.

A great idea woven together

Everything Enio has done up to that day

Which paved the way for his future

It is the movie "Investigation with a Citizen".

I was very shocked by the movie "Investigation".

It made me realize that it is possible

Composing very different music

than even Morricone was doing before that.

I remember the music more than the movie.

In fact, the music enhances the film.

He invented a musical form, movie music.

He may have been the inventor of movie music.

How are you going to kill me this time?

I'll cut your neck.

I love Kubrick that music

And he called me at Clockwork Orange.

I love that music so much

So much so that he wanted me to write an imitation of her.

Agreed, but Kubrick called Leonie,

He said I can't because I'm busy.

The authors of "Ennio Morricone" are working on

My new movie "Festival of Dynamite".

But that wasn't true.

I was mixing "Festful of Dynamite".

The music was ready.

Kubrick abandoned me without even calling.

It's the only movie I regret losing.

1, 2, 1, 2, 3, 4.

I dreamed of participating in a piece by Morricone,

Awesome, wow!

But there were 4 people in the studio.

He did one scene and said...

(Enzo G. Castellari), Director

Give instructions, then record...

(Cold Eyes of Fear), a film
by (Enzo G. Castellari), 1971

Enio composed several pieces of music

And try it in a certain kind of thriller.

He looked at me, and seemed a little angry,

He asked me, "What is this?"

I told him, "Drums

In case we need inspiration..."

rid of it."

please open!

(The Bird with the Crystal Plame),
a film by (Dario Argento), 1970.

I tried a writing style I had never tried.

He was writing music as bits and pieces.

Studio Musicians Improvise From "Enio" Music

He was playing the trumpet...

According to what was happening on the screen

He was referring to the track number to be played

by a certain musician

Make this start, then start that

Everyone should prepare their machines

to start at any moment, because it is not written.

And when the director said, "That's good,"

I couldn't repeat it the same way.

This allowed me to do the unexpected in the movies.

(The Cats Night Tales)
by (Dari Argento), 1971

After the third movie, Dario's father, Salvatore.

He said, "What are you doing? It's the same music."

He said, "I did the same music in 3 films."

That was not true.

Inyo defended himself and said

"I don't play the same music."

But it looked similar.

Because the discordant music disturbs the viewer.

But I applied this idea to other films

And I got to the 23rd multiple.

Maybe at some point, he exaggerated a little bit.

He started hearing rejection for the first time

Or warnings, because they told him:

“(Enio), if you keep writing like this

You will never find a job again."

I definitely changed my style.

Sacco and Vanzetti by
Giuliano Montaldo, 1971.

Morricone was originally a legend.

Joan Baez was one of the greatest icons

American youth.

Enio speaks little English.

And Biz speaks a little Italian,

But music is a universal language.

(John Pease) (La Palata
de Saco e Vanzetti), 1971

I remember the recording sessions were all barebones.

It was only the notes and the words came next.

She sang on makeshift piano and drums,

And I installed the orchestra above her voice.

And she told me:

“No one, who does not know me directly,

He would have written so accurately

To the best of my voice."

She said, "This is a miracle."

I finished it all

Then he came at the last minute
and said, "There's one more little thing,"

Next said...

"Can you write the lyrics for that?"

I told him, "Okay."

(John Bees), (Hears to You), 1971

That song was a hit

We often asked, "Why? How is that possible?"

That song isn't just
likable, it's an anthem.

The fact that my songs were a hit

Doesn't mean I was wrong

When opposed to traditional melodies.

I think we got rid of melodic groups.

It is said that Ino Morricone does not like melodies.

he said that.

But he is a musician with a very strong melodic temper.

It appears more the more he tries to curb it.

melody? Someone is very skilled

In his preparation he could not hate him.

he is lying.

but perhaps in what we jokingly call musical schizophrenia,

We find the totally different sparkle.

"(And Angus' Choices to Die)
Film by (Giuliano Montaldo), 1976"

One of his laws is to apply rigor to creativity,

And the fact that he plays chess proves it.

It lives in an arithmetic and geometric world.

His style is almost ambiguous and spiritual.

Few composers have
what Ennio Morricone has.

And it is an instinct to know what
would be appropriate in the scene.

But at the same time, when you
hear his music, you know it's Enio.

How can you distinguish the works of
"Ennio Morricone" from the first note?

He gives a lot of himself to music

So much so that you know as soon as the chord
starts to sound that it's definitely "Enio."

It cannot be any other.

His most influential pieces exploit an exhausting tension,

Its consistency is astonishing to the viewer.

I myself gave up listening analytically

I unleashed myself.

His music feels like it was written for him.

Why do people remember Morricone's music?

Because when you hear it, you can't forget it.

Giordano Bruno by
Giuliano Montaldo, 1973

My head is full of music, something I have to write,

Then an interesting and important idea came to me.

So I am often conservative,

As someone who doesn't like to talk.

He is a very shy person.

Deep design.

So talk to him about music

He is speaking into the abyss within him.

He believes in his music,

It does not serve the image.

In fact, Enio says, "I'm like a chameleon

I change my color according to the director I work with,

But I'm always me."

I guess he always tried to understand

The director who is with him, then works with his soul.

In this sense, Enio is a skilled psychiatrist,

Because the ability to deal with characters

so complicated

sometimes very turbulent,

There is no doubt that you are skilled in psychology.

with "Pasolini"

And the other directors he worked with

He always found a way to express himself.

It is like a dictionary.

The work of 10 skilled authors with the same director

They made the same movie.

They will all write different music.

This dramatic thinking means

How difficult it is to write the music for the movie.

If there are several solutions,

The hardest part for the composer is

What is the right music? And which is appropriate?

This is the author's torment.

In "Alosanfan" we said:

"(Enio), there's a dance at the end.

We need music to film that."

He composed the accompanying music for us.

We liked it very much.

We thought that the accompanying melody

It was boogie music.

And they shot the movie with that rhythm.

But when we're making a movie,

We can't go on without music.

We composed a variety of music together.

With different musicians.

Then Enio came to see Tahrir and said:

"That's fine, but why am I here?"

Then he left.

imitating other people's music

I didn't like that I couldn't think for myself.

I never liked that.

We hurried downstairs.

"No, you have to do that."

"I won't do it."

I finally agreed

But I will write the music myself.

(Alonsanavan), by (Paolo)
and (Vittorio Taviani) 1974

when we were in the studio for the last dance,

Enio said, "I have prepared the melody for you."

"We don't want a melody, we like it, Enio."

"Just listen."

We were so happy because it was so much better.

The director oversees everything:

text, website design and fashion,

Acting, lighting and drafting.

But not the music.

sit at the piano

He sang the melody in his voice...

My voice is bad, definitely not good.

play me music on the piano,

But I didn't understand anything.

The director of the film did not know what tune I would play.

I didn't dare to doubt

What Morricone improvised on the piano

I knew that sound

It will become strings and wind instruments.

The director does not understand the end result with the description.

Music cannot be described, it must be heard.

Movies inspired me instantly

To write a specific music of a specific genre.

(1900), a movie by Bernardo Bertolucci.

During the screening of the first version of the movie "1900",

Enio immediately started writing music.

It was dark

I picked up a piece of paper and started writing the melody.

I wrote it.

It looked like he was making a parallel movie with music.

Enio moves into the music.

There is nothing it cannot offer you.

If you told him during the recording:

"Why don't you make this look like Verdi's?"

His talent appears immediately.

He can compose a song like 'Verdy' right away

And she wonders from which opera this part is.

But it is not an opera.

It's for Enio.

There was a lot of criticism of "1900"

Someone criticized the music, too.

Zorlini called me and said:

“I will write an article to defend you.”

That was very kind of him.

"(The Desert of Tartars)
by (Valerio Zorlini), 1976"

Tartars are the lost dreams of youth.

At some point, Zorlini wanted

Hearing music, I played it to him on the piano

And he said, "Enough, it's good."

Surprisingly not knowing how to compose music

Not even the distribution, he knew nothing.

But when the director trusts you, it's over.

Goodbye, Drogo.

Created the 5 war horns cut

Suggest an army

But he didn't.

The last time you played the trumpet

When he married Ghilo Pontecorvo

In the Capitoline.

He asked me to play the wedding tune.

carried the trumpet,

I thought I hadn't practiced in a while, and I played...

On the trumpet, he was very happy.

Terrence Malick was an important director for me.

I went to see the movie

When I return to Italy

I wrote 18 ideas.

Enio made me play chess with him.

I remember we were on the playing stage,

And while composing music, he
would name his movements to me.

I was sitting in front of the
panel in the control room,

And I was amazed that
he could still beat me

While he was imagining the painting in his mind.

When we analyzed the movie,

He asked me to compose a piece

It was very important to me.

It was a wonderful symphony.

Let it burn.

I had nothing to do with the correspondence

Like it was between me and him.

I really believe movie music would have
been a lot different in the 21st century

Were it not for Enio's work.

Traditional film music was
played only by the orchestra.

And in second-class films

He was the one who used and mixed
all these things, and broke boundaries.

A movie musician has to be good at anything,

From symphonies to popular songs.

(Bianco Rosso e Verdone)

Listen, my love, did you do what you had to do?

Sergio Leone produced my first films.

during production

“On Sako Bello,” Leonie said to him.

You have to do something like titina.

But nicer, more like Chaplin."

"Listen," said Morricone

You better just give me the text.

I will read it and I will understand it."

Maestro, what do you want me to do today?

He replied, "Love, love."

We came back two days later.

Morricone plays 5 or 6 notes.

(Fan Is Beautiful) by
Carlo Verdona, 1980

Leone told Morricone:

"You see? I gave you good advice."

but it's titina,

What does Tina have to do with this?"

"No, but something like that."

I remember when Morricone came and Leonie said:

"I want to hear pan flutes throughout the movie."

Morricone's response:

It will be used in due time, (Sergio)

You can't use pan flutes for everything."

"But the pan flute..."

"Let it use it well on me."

Bugsy is coming, run!

(Once upon a time in America)
by (Sergio Leone), 1984

Ennio and Sergio were life partners.

Sergio was going to him and telling him

About the movie he wants to write.

Collaboration with "Sergio" began

When describing the movie to me.

Noodles, you tripped.

He described it to me in great detail.

He described me up to the wording.

I think my dad relied on Enio's music.

He wanted his films to be based on music.

Fat Banana Restaurant, drinks and sandwiches.

In the music of "Once Upon a Time in America",

Every part of it is full of creative
thinking and innovative machines.

Music in Dad's movies

It was more than just a soundtrack.

It was more like a conversation in a movie.

Sergio often made me

I'm starting to compose some music

before you start shooting.

I remember when Enio played music

From the movie "Once Upon a Time in America"

Many years before the movie was made.

During these years,

Sergio had a lot of doubts

And he would sometimes say

"Hear me the other piece."

It was broken by silence and pauses

Things I love.

It's a piece I wrote in America.

For "Endless Love" by Zeffirelli.

In one scene, he told me:

"This is a song written by another musician."

I refused to make that movie.

Because it has someone else's song.

And I do not agree with that.

My father often asked Enio.

To bring him up leftovers.

that have not been used.

I had him listen to Zeffirelli.

That became 'Deborah'.

Love her.

And I admit that I still love her, too.

(Once Upon a Time in
America) by (Sergio Leone), 1984

start slowly

The low notes don't move,

Then it deliberately switches to another note.

Enio tells the story

Staying on that note for that long.

Staying on that note
this long takes courage.

Without that music...

I can't imagine the scene any other way.

If you watched the movie without that music...

Leonie wanted Enio's music to resonate.

during filming.

The loudspeakers were

Playing Enio music

Actors filmed their scenes

And music in the background.

"Morricone" music on the site

That was crazy.

Camera

Get ready, 144, 18, first try.

Start shooting.

Everyone was touched by the music while filming.

Impact on the cast and crew.

What are they waiting for?

I don't understand, Mr. Bailey.

you really feel,

I wouldn't say you saw the movie, you felt it.

I was curious.

Great actors like De Niro,

For those interested in direct registration

When they act in a certain scene

With music in the background,

"Keep the music on, it helps me."

Stop filming!

In high music, "Ennio Morricone"

It was a household name

But he did not arouse much interest.

But that was universal.

The great academic musicians

from the last generation

They struggled to recognize the talent of "Ino Morricone".

From that standpoint, the decisive discovery

It was the movie Once Upon A Time in America.

This music cannot be written

Except for a great musician.

Here, his music amazed me on a higher level.

It is music that does not pass superficially.

But you enter it, and you find it.

And when I realized that,

I understood Morricone, too.

And not before.

Boris Purina wrote a letter of apology to Enio.

But it wasn't an apology to Morricone.

It was an apology for a historical era

For himself, for...

not being able to comprehend it,

Because he was blind and deaf

against the power of ideology.

He belonged to another world.

In short, he despised him.

It was some time before many of them did

bowing before his genius.

When I read this letter to Enio,

stood up

He cried, somehow feeling liberated.

I remember when I came out of the movie I said, "Fuck

There is something here

Beyond what we usually think

It's music."

I remember being in the
cinema and not seeing Enio.

Then I realized that I saw
Inyo's head from behind

Because he lowered himself on the chair.

"The Mission," by
Roland Joffe, 1986.

When he turned, he was crying.

I was sad about the massacre of the Indians and the Jesuits.

But the movie was very beautiful, without the music.

I could have spoiled it.

"You don't need music for this movie," Enio said.

"No, it's impossible!

I can't write music for this."

And he came out.

The Mission came at a point in Enio's life.

In it he decided to leave movie music.

This movie came as a surprise

in his existential decision.

One day, I was at home,
and the phone rang.

And I heard, "Hey,
Ronald," and I said, "Yes."

"I (Enio)"

I said, "Hi, Enio."

I've thought...

I have a little idea."

I felt like my hair was standing up.

Because I've seen... I've seen the movie and the music.

My behavior was strange when I wrote "The Mission".

I almost didn't control it.

I wrote this music without my control.

as an abstract piece of music

Enio could write for a year.

And music like "The Mission" for two months.

It is another example of the secret Enio rooms.

I mean you see something extraordinary.

I wrote the first oboe piece.

But because the events of the movie in the year 1750

I was also affected by decorating time.

Alternating fast and collective

The short and extra note, these elements

It enriched the melody.

Alternating tone...

And the short note...

Alternating tone.

It seemed appropriate to give the film a sacred tone.

According to the teachings of the Second Vatican Council

then...

Then the original Indian melody, primitive music.

So, within the sacred piece of music

I wrote another tune,

Rhythmic melody.

It is fast moving,

He raises the headphones, puts them on,

holding the pen, moving things
here and wiping other things,

You feel the energy in the whole studio,

Who knows what he felt?

It's amazing

that cut oboe

mingled with the sacred verse.

The sacred melody mixed with the ethnic part.

The ethnic part can be mixed with the oboe.

So, the 3 tracks can be mixed together.

All of this happened unintentionally.

As if there is something

He suggested it to me, music... It's logic.

Enio invested the entire movie,

Music was everywhere,

It was like looking at
a body that had a soul,

It became impossible to separate them.

The Mission, Ennio Morricone.

I've never been so sure of anything in
my life that he's going to win an Oscar.

And the winner is...

Herbie Hancock, for "Round Midnight."

I wanted to apologize on behalf of the entire academy
and the whole world for this terrible mistake.

Herbie Hancock.

A good jazz player, a good composer,

And a good pianist, I can't argue with that.

"Round Midnight by
Bartender Taverner, 1986"

But the main character

Existing tracks played.

So the music was half old

She was not supposed to be nominated

In the category Creative Music.

In fact, when I announce the winner

The audience objected.

I left quickly.

It was the best, everyone knew it.

But he did not get the appreciation he deserved.

Because they didn't understand it in the end.

You switch between composing movie music

and salon music.

I have been increasing this activity for a while.

I gave it up for the movies

But I came back to it.

And because I don't want to die working only for the cinema.

years ago now

He also worked as a composer for civilized music.

of great value,

Of a high technical and aesthetic level.

Petrassy was sitting in the first row

At one of Enio's parties.

And because Enio was very respectful of his teacher

He never seemed to break up with him.

(Cinema Paradiso), a film
by Giuseppe Tornatore, 1988.

When Producer Franco Cristaldi called him

to show him the movie "Cinema Paradiso",

Enio refused at first.

Franco called me after a short while.

He told me, "Read the text.

Then tell me what you think."

The home phone rang.

"I'm Ennio Morricone, can we meet?"

please enter.

I went there, and I was so excited.

He asked me if I wanted Sicilian folk music.

I didn't think of anything like that.

Then he looked at me

"I'm going to work on the movie," he said.

It was Cinema Paradiso.

And I enjoyed it very much.

It was a life lesson.

Because Enio treated me as his kind,

And I was new.

He has acted in 350 of his 500 films.

And when he tried to stay away from the cinema,

The cinema was catching up with him.

A movie by Brian de Palma.

In the movie "Anatatchables",

I wrote the music in New York.

De Palma was always excited.

On the last day, when we were going to say goodbye to each other

He surprised me and said

"I need a victory piece for the police."

Well, I said, I'll write it in Rome.

Then I will send it to her."

"(The Untouchables)"

I sent him 9 options with a message

Please don't pick number 6.

Because it's the least I like."

What did he choose? No. 6.

(The Untouchables)
by Brian De Palma, 1987

The greatness of Enio stems from

Not just music

He writes dialogues for some scenes,

And also his way of expressing the viewer.

- The accountant. what?

- The accountant.
- The accountant?

- The accountant.
- The accountant?

What?

- The accountant?
Is he on this train? yes.

Is he on this train?

Now, what are you ready to do?

when violence is introduced,

Not in line with the picture.

It is completely separated from her.

Show his abilities to view another point of view.

In the station scene, I decided to play the waltz.

Thank you so much.
- Hold your bags.

Are you...

You are a decent man, that's very kind of you.

The waltz with the bell gave me a chance

To change the extreme sophistication of the scene.

De Palma did not agree with me.

But he agreed, as many directors do.

After a few months

I heard a statement he said in the newspaper.

Where he says my choice was correct and...

He had criticized him.

And that made me feel very satisfied

Superb professional honesty.

Come on, come on, let's go from here.

What are you doing? silent!

Come on. silent

Ennio Morricone has been nominated for the third time

On this film by "De Palma".

Are you excited, Maestro?

I don't get excited about it anymore.

The third time, I got used to it.

Actually, I'm sure I won't win.

The winners are

Ruichi Sakamoto, David
Byrne and Kung Soo

About the movie "The Last Emporer".

Why do I play chess?

Because it teaches me the struggle of life.

A sense of resistance.

and desire to improve.

Resist opposite things

Like what comes from the discount.

Who tries to win and I try to win.

in a bloodless manner.

(Uturn), a movie by (Oliver Stone), 1997.

When I heard the music

It was a very good part of it,

But there was a factor he didn't
understand about my vision.

What I wanted was to go back
to his style with Sergio Leone.

exaggerated votes,

As powerful instrument sounds and...

He wanted me to do the same thing again.

One day, I showed him
a Tom and Jerry cartoon.

where they were hitting each
other and making loud noises,

They fall to the ground
and there were funny things.

shocked by that

And he said, "Do you want me
to compose music like cartoons?"

I told him, "Something like that."

He felt insulted, he felt insulted.

He got angry and went back to
Italy and said he didn't make up trifles

Well, lady, don't scream,
no one's going to get hurt.

The problem is that Enio.

Compared to our directors and editors,

He has a more exciting ability

To translate the cinema more than us.

Instantly find an idea

I mean, it's related to the movie.

There is a real connection with the image

Like love at first sight.

Sometimes, this didn't happen.

And that was very difficult for me.

During the movie "Sustina Pereira",

He was so upset with this movie

Enio said he didn't know where to find an idea.

One day, right under Enio's house

There was a demonstration and people were beating drums.

There was a strike and I heard the famous clicking

I used this cadence for the whole movie.

Listen boy, sit down.

This is not one of the 10 commandments, but I will say it.

heart affairs...

are the most important.

Take the rhythmic note from 68.

"Senet Can Depo Conteo le Combat"

And he turned it into a structure for the musical part.

And he turned it into a "Pereira" decision.

these tones

I gave him the entrance to make music

which contained something...revolutionary.

I said, "I want a song from that era,"

The song you found, and that's when we argued.

But he was right.

He wrote a great song.

I think the track must mean something

To provide a good service to the movie in which it is shown.

There is something spiritual about Enio.

It can awaken your soul

Energies you didn't know you had, were dormant.

During sessions with the orchestra

Came to the control room

He threw himself on the sofa.

And he could sleep for 20 seconds,

Like "Napoleon".

"Don't disturb the maestro, he's asleep."

After 20 seconds, he was ready and back to work.

He composes music like a lion.

"(The Legend of the Nineteen
Hundred) by Giuseppe Tornadre, 1998"

In "The Pianist of the Ocean"

He started composing the music while I wrote the script.

We worked hand in hand and consulted each other the whole time.

Even while filming.

It was for some mysterious reason,

Understand Enio, the young pianist's personality

Who would not abandon his music.

In New York's melancholy wave, Ennio Morricone wrote...

A symphony dedicated by Ennio to the tragedy of September 11?

She was a musician born under the tragic influence

To attack the Twin Towers.

In memory of all massacres in human history.

Where the rainbow ends,

There will be a place my brother

in which the world can sing all kinds..."

He has a sense capable of
linking sound, image and narration

- In endless ways.
- "(Pat Mithany), composer and guitarist"

Because we don't know the melody, and it's a difficult melody to learn

But we can learn, brother.

(Fuci D. Silenzio, 2002)

great orchestra

And a chorus and someone giving a short speech,

and traditional music tapes.

See how many fields you met.

I felt when listening to that music,

Everything we saw while we were in our homes

During what was happening in New York.

He knows how to express what he feels,

By scale more than anyone else.

Photo Danima Piena
(Kantana Mystica in Tree Navat)

Accompanied by the choir, trumpet,
percussion, two pianos and strings, 2012

I don't regret writing music for cinema.

In fact, I gradually found

Meeting points between pure music and cinema.

One affected the other.

These meeting points, even in concept,

essential and important in my life.

at a certain stage,

Two souls meet.

Ladies and gentlemen, Ennio Morricone.

One of the greatest moments for me

- It was when he won the honorary "Oscar".
(David Putnam, Producer)

Because it was an apology from Hollywood,

And that was a great feeling, because
they were saying they were sorry.

Thank you so much.

I want to thank the academy

For giving me this honor.

This award is given to everyone.

- The Academy, many years
later, - "(John Williams), composer."

I felt he should get an Oscar.

for the works he did throughout his life,

So they gave him Oscar, and that was great.

I dedicate the award to my wife, Mary, who loves me very much.

You have stood by me all these years.

And I love her as much as she loves me.

This award is hers, too.

I think people assumed that at that
age he would have finished his career,

But the big surprise is that it continues to work.

(Ennio Morricone)

At the Royal Albert Hall in London,

As soon as he got on stage, the whole audience stood up

They clapped him for so long it gave us goosebumps.

(Radio City Music Hall, Ennio Morricone)

It is an honor for "Italy" in front of the world,

And again, an exceptional artist,

maestro

Ennio Morricone.

My favorite composer of all time,
(Quincy Jones, composer and producer)

The great maestro Ennio Morricone.

Enio!

Enio.

Enio.

Enio.

Enio.

Enio.

There is no place in the world,

From South America to Asia,

Not to mention 'Europe' is unwelcome,

A huge welcome as pop stars.

Celebrating 40 years as a musician, Morricone presents...

I remember one of his concerts in Paris.

When the crowd went crazy.

When I went into his dressing room, I decided to say:

“Are you convinced that this is

Simply, the greatest music of the 20th century?"

And he said, "I'm thinking about this."

Previously, I considered incorporating music into cinema as humiliating.

Then I gradually changed my mind.

In fact, I now think that movie music

Modern stand-alone music.

It was a mature turning point.

He found a brilliant artistic youth.

He said first... "Why do you
want an original piece, Inyo?"

You're using other people's tracks
and you've been doing this for a long time

So, why would you want to do this differently?"

He replied… “Honestly, I don’t
know if I wanted to do this differently

But if I'm going to use an
original piece, I want you to do it."

And he convinced me.

"The Hateful Eight," a
Quentin Tarantino movie.

He brought with him the kinds of music he liked.

Beginning of the fuga

In "Symphony of Psalms" by Stravinsky.

It was clear that Tarantino was fascinated by the Leon films,

So probably expect a different kind of music.

What can I compose so as not to repeat myself?

I composed a real symphony.

Morricone was a skilled chess player,

And he brought Tarantino to his territory.

Enio for me opens up the world of visuals.

you will die.

I felt like I was getting revenge in a movie for the American West

To make up for the past.

(E. Morricone)

Ennio Morricone is my favorite composer.

I don't mean a movie composer, that's simple.

I'm talking about Mozart, I'm talking about Beethoven,

I'm talking about Schubert.

Tarantino likes to exaggerate.

Enio gave him the answer:

To acknowledge that someone is Mozart or Beethoven,

200 years should pass."

When you open a page of Beethoven's composition,

You may not be able to play it,

But the writing is clear.

But with Enio, everything is clear.

When I think of his work in general,

It's very hard to find

On another thing in the world of movie music is similar to it.

I had to break out with geniuses like
the Beatles or Bach or Charlie Parker.

Chopin and Tchaikovsky prevailed for a long time.

Why isn't Ennio Morricone's music a hit?

I agree with Tarantino.

After 200 years, people
can talk about Enio.

I prefer to say that Enio is a great composer and a great man

Because it belongs to the era in which he lives now.

I think he achieved an exceptional position

For his ability to deal with the past and with the future.

With music as it was and with music as it will be.

And the Oscar winner is...

Ennio Morricone, "The Hateful Eight."
- "The Hateful Eight".

My brother, the wonderful Enio.

our end

This is the first Oscar and the
sixth nomination for Ennio Morricone.

He also received an honorary award in 2006,

In recognition of his many-sided
contributions to the art of film music.

I think the two are unique.

Enio taught us how to behave with our legend,

Something extraordinary happened to him

When he was known as a world maestro,

At the height of his creativity.

And that made him a happy composer.

(Mesa Papa Francis), 2015

It is worth it and more.

Because he is a hard-working man and a great musician,

without acting like an artist.

We went to give some concerts.

was slain in Israel,

Because the passport officer knew him.

He's not an arrogant person, but he's an icon now.

It's very clear to people,

for people all over the world,

There are many groups that use my music.

They also use

Thoughts from me on their books.

I think he's always been a forerunner in the language of music.

In fact, he dictated the language,

So we can consider it a pioneer.

Morricone!

He is the pioneer in merging musical genres.

Young artists were amazed.
(Phil Guano, director)

They like to apply this to their work.

So, it was an inspiration for them.

Enio music also attracts youngsters.

People will be affected by it for a very long time.

- Because she represents him.
- (Mike Patton, singer)

He is honest.

Although I don't know
him, I feel like I know him

through his music.

The movie "Cinema Paradiso"

It was one of the most iconic profound works of art

Which I always come back to as a reference.

We always go out to the cheers of
the audience and always leave on it.

Very deep emotions.
(Bruce Springsteen, songwriter)

to recreate the color he wanted,

There are certain sounds

Reproduced and assembled

And used in several albums of the pop rock singer.

We hear more of its effects
now than 20 years ago.

Love the sounds and layers

that Ennio presents in his music.

- I draw a lot from that.
(James Hetfield, songwriter)

He made a lot of people sing his song.

It makes me excited.

I got to play the guitar part, and I
said, "Go away, I want to play this."

They don't deny their personalities in this mysterious love

which they have for my work.

- Did you like it? yes.

- I don't know a composer who is not
familiar with Enio. (Hans Zimmer, composer)

But can you teach that?

Without Ennio Morricone,

Most of us would not be here.

Linguistically, we would have been different and poor.

Incorporating different geographies of music is a thing

- I learned it directly from the courage of Morricone's actions.
- "(Michael Dina), composer"

His lesson is not said, because no one studied with Enio.

If you listen to music a lot,

You always have to find something like Enio music,

or someone who uses strings in their own way,

He uses the piano as he uses it, but it's not him.

It is music.

The music that comes out no matter what happens, no matter what is written.

Perhaps even independently unconsciously from it.

When I worked on my first movie, it was 1961.

I told my wife, "I'm leaving the cinema in 1970."

And in 1970 I said, "I'm going to leave it in 1980."

And in 1980 I said, "I'm going to leave it in 1990."

And in 1990 I said, "I'm going to leave it in 2000."

Now I don't say anything.

Enio was able to merge

Prose and poetry.

Change the template completely.

The ordinary became the extraordinary.

Enio always gives you a lift

something that makes you think,

It makes you soar.

Wow! I am still learning from him.

Enio music rises,

And travel to other galaxies.

The gods of music speak through him as if he were haunted.

Even if you wrestle with the idea of God's existence,

Hear Enio music

And you think, there must be something there.

His music is timeless.

This guy is the champion of good ringtones.

And good ringtones are here forever.

You realize when you start as

That whole life is not enough for that.

History will remember him.

And there will always be Enio music.

Enio was the soundtrack to people's lives,

They worked, loved, laughed,
and did everything to his music.

He is one of our family.

As if we are related.

That man will always be there.

It is here to stay.

Music must be thought of before writing it.

It is an issue.

It's always a question when you start composing.

And in front of the composer, there is a blank page.

What do we put in it?

on that page,

What do we put on that page?

There is an idea

It has to be created

Then it is necessary to proceed with it.

In search of... for what?

We do not know.

Enio

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