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Clapperboard, please.

Serata America,
interview with Leone.

One, first.

One moment. Good.

Cinema for me is
above all a big show

where events of the masked life
are proposed.

It is a vehicle for recounting
one’s own experiences

historical,
or psychological experiences

always through
the fable and the myth

through the show.

I was born in cinema.

I live on cinema,
I read cinema, I see cinema.

For me,
cinema is life and vice versa.

How can one forget
the world of childhood?

All my films are permeated
with these feelings

from "A fistful of dollars" to
"Once upon a time in the west".

After all, in my films,
the world is judged by children.

Do you see
those little pillars up there?

They didn't used to be there.

Instead of columns,
there were us

10- to 12-year-old boys
with big paddles

coming down like Taboga
at 50 to 60 kilometers per hour.

A blue avalanche finding
down then unwelcome guests.

The neighborhood was swarming
with Germans.

This is '42/'45.
My first western.

I can say that I was born
almost on a movie set

because my mother was
a young actress with Galli.

When I was a child

my father was making
his last film

after many years of absence
due to fascism.

He was an anti-fascist

and therefore was
politically persecuted.

He was the favorite director
of Francesca Bertini

who was the star
of Italian cinema

and for a few years
the star of world cinema.

He direct Bice Waleran
who would later become his wife

also a great silent film diva.

When Italian cinema
began to go into crisis

Vincenzo Leone
or Roberto Roberti directed

some of the most spectacular
Italian films of the 1920s

such as "Fra' Diavolo".

Vincenzo Leone wanted
to make a popular cinema

accessible to everyone
and ennobled by that.

I have the impression

that Sergio walked
on the same path of his father.

The only time I saw Sergio
on the brink of speaking

in tears

was when he was talking
about his father.

A film festival of old
Italian films was taking place.

One of his father's movie
was playing in another room.

He left the room,
he went to see his father's film

and didn't want to talk
afterwards.

He left in tears.

I was born
with my father's frustration

of not doing
what he wanted to do

however, living on cinema
from morning to night

talking about movies,
he would vent to me.

So, when I turned 14, at first

I had a total aversion
to this environment, this craft.

When my father decided to retire

to the hometown of Torrella
dei Lombardi in Irpinia

I strangely felt a great urge
to continue what he was doing.

It came upon me
almost as an obligation.

THE COLOSSUS OF RHODES

He understood
that his way was the epic film

the movies about
the absolute hero protagonist.

I want to debunk a concept.

"The Colossus of Rhodes"
is an ironic film.

The character is a playboy.

- What is this perfume?
- Roses, my grandson.

Rhodes is also the island of roses.

And of beautiful women, I see.

From the set photos we have

we can see he's already
the master of the set.

I really dictated
the epic comedy genre.

Clint Eastwood was
a swimming instructor.

Then, for many years
he had been the second actor

in a western series
called "Rawhide".

When they sent him to me

to see one of these subjects,
"The Black Sheep"

he did not speak,
he did not say a word.

I wrote the script in 15 days.

It all started
with my viewing of "Yojimbo".

The thing that intrigued me most
about 'Yojimbo' was the fact

that it had been taken
from an American novel

a mystery series.

Kurosawa had transported
the idea to his samurai.

I wanted to bring
this idea back.

The thing that struck me about
this boy was his indolence.

He was a real cat-man,
born lazy.

He seemed to sleep as he walked.

But then, when it was time

he gained
a curious speed and dynamics.

This gave me
a very specific cliché

a charm to the character.

The work he is able to do
on Eastwood is wonderful.

If Eastwood had been remained
the one of American cinema

he might never
have become Clint.

He took away that divine aspect

that made him
utterly improbable.

Greetings, my friend.

He made him a God among men.

He managed to bring and transfer
the Roman indolence

inside Clint Eastwood's body,
in the attitudes, the mannerisms

that being sly

and at the same time
awake, cunning, smart.

- Ciak, first.
- Montaldo. - Here I am.

I was in the Papi-Colombo film

because I had to make
my first film with them.

My debut was in the room

where the two producers
had their studio.

I heard noises.

Noises and voices.
At one point, I hear making…

And then, here they come.

It was Sergio Leone

telling the producers about
the movie with the shooting.

The beauty and charm with which
he told things were impressive.

A FISTFUL OF DOLLARS

The idea was

Harlequin serves
the two masters.

He puts himself in the middle

and sells himself
to one and the other

without the two knowing it

and turning them
against each other.

In Ford's films,
when an actor opens the window

it is always to look
at the immense future ahead.

In mine,
when they open the window

they only have
the terror and the fear

of getting shot
between the eyes.

The movie was released
in Florence.

On Friday gained 600,000 liras,
800 on Saturday

a million and three on Sunday.

On Monday,
it was expected 100,000 liras.

It made a million and a half.
The myth had arrived in Rome.

For me, the west is mostly
fairy tales and fantasy.

There are historical characters,

but they are also linked
to myth, legend, fairy tale.

THE BAD

THE UGLY

My latest film
"The Good the Bad, and the Ugly"

is an epic picaresque western

because it's the story

of 3 magnificent
and sympathetic rogues

set in the context
of the Civil War.

He used to take us with him.

He had a passion for us.

There was a feeling

that family was
above everything else.

I have just
some childhood memories.

I remember
these deserted, dusty lands

where there were
no children, only adults.

We had to be quiet
because he was shooting.

For a child,
it was a very boring thing.

I have beautiful memories.

For a child, being brought
on a set is a fantastic game.

The greatest joy was
being dressed

to play extras in the film.

He had a strong bond
with the family.

Having spent many months at home
before shooting "Un sacco bello"

I saw the relationship between
him, his wife and his children.

He was in love

with his two daughters,
Andrea and his wife Carla.

It was a lovely family.

People in Dad’s crew often came
over our house

they were friends.

There wasn't a shocking impact
of being in a strange place

it was a familiar place.

For me, it was a great game,
a nice journey.

It was a way
to get together on vacation.

It was a different vacation
from those of my friends

who had a quieter
and normal life.

In Libération,
about 30 years ago,

there was a questionnaire.

It was asked to 200 directors,
or something like that.

The question was:
"Why do you shoot?"

One answer that stood out for me
was that of David Lynch

who replied, "To create
universes and see if it works."

"For me, Sergio Leone creates
a universe and it works".

We are here working
on the research of two motifs

for my last film
called "Duck, You Sucker!"

Dad had landmarks from which
he would never deviate.

You could tell him the coolest
singer in the world was there

he would say, "He can do a song,
but Ennio does the soundtrack".

There was no discussion.

I remember,
when I made my first film

"For a Fistful of Dollars"

I didn't want Ennio Morricone,
because I didn't know him

I was used to working
with another musician.

We met two days later

because the producers
wanted us to meet.

And at that moment,
we recognized each other.

Now I think we have to work,
my dear friend Ennio.

Let's go in.

They were in complete harmony.

Dad and Ennio were working

on the score
of ''Duck, You Sucker!".

Ennio plays something
and Dad says

"Yes, but make it
a bit sweeter here".

Make it a bit sweeter,
it's about kids.

There was
an all-around collaboration

they were birthing it together.

This is the perfect fusion.

I remember Sergio
when we were in third grade.

Then he disappeared

because he changed school
the next year

so I never saw him again
until many years after that

when he asked me to do
the soundtrack

for "A Fistful of Dollars".

I made that film very willingly.

I had an idea in mind
and I developed it.

The whistle and the instruments
that accompanied the whistle

were fancy
and had nothing to do with it

weird percussion.

In all of Sergio's films

I've changed the physiognomy
of the music every time.

The music box in the second film

was part of the script,
of the story.

However,
it was not always in the scene.

When it was filmed without
the music box in the scene

it became an abstract thing.

It was important that it took
this aspect of sound

in relation to history.

In
"Once upon a time in the West"

the harmonica becomes
the protagonist.

He found out

that when an instrument
makes sounds

in the reality of the image

and we hear it again
without it being in the image

this instrument becomes
a fundamental evocation

that cooperates
with the meanings of the film.

This was
an important stunt of his.

That was very kind of him.
I didn't do the scripts.

He meant
that the meaning of the music

behind the pictures
and the realistic sounds of the film

it meant quite as much
as the dialogue could mean

something more than the dialogue

the abstract interpretation
of words.

Sergio's films were so good

that they held
even inferior music

than the ones I wrote.

The music is not
part of the film

it interprets the film

it supports concepts

that the composer lends
to the film

and of course to the director.

The actor's thoughts,
what he does not say

can be represented by music.

The look of a motionless actor

who felt behind him
or in front of him

something unbearable.

It was full of suspicions,
memories, terrible things

or very simple things.

When faced with playing

emotional, particular,
sentimental scene

with music underneath

have sometimes
gone off the rails

and said, "Look, we don't give
a damn about direct-to-video".

"I keep the music underneath
because it helps me".

"We'll dub this piece later".

With music on the set

something special
and sacred happens.

It takes greater concentration
on everyone's part.

There is a higher harmony

that brings together
in the best possible way

the product of everyone's work.

This is a particular scene
that I turn all silent

because it is
as if seen by a protagonist

who is only discovered

at the end
of this tracking shot.

Sends a little less smoke.

- A little less smoke!
- Shooting.

Clapperboard. 28-1, first take.

Perhaps, Sergio Leone is also
the last great silent filmmaker.

He gave back

an extraordinary
strength to images.

Sergio worked a lot on silence.

On the silence of whom?

Of the actors,
of the characters.

On the silence
of seeing a scene.

That silence is true,
represented by music.

The music at that moment
represented itself

in a very fundamental way
for that scene

for what had happened earlier
and for what would happen later.

Music told the past
and the future of the film.

My father had
a great attention to noise.

He found in Ennio
more than fertile ground.

Yes?

Here, even with the tools, good.

We used these
for Robert De Niro's steps

in
"Once Upon a Time in America".

I used to work
with Renato Marinelli

who was Sergio's foley artist.

Everything used
to be reproduced in studio.

Today computers help us editing.

In the past, you had
to do everything in studio

and you had to be suitable.

Sergio Leone looked grumpy,
but he was a chum after all.

He was funny

and he would gratify you
for the job you did.

When he enters the field

make me the sound of a horse
in the background.

It's the same.

Make it a little less strident,
or it will disturb.

I always met the noisemakers.

We used to joke and say

''Keep the noisemakers down"

"because the music
has to come out'.'

That was our fun, funny talk.

Morricone was quite a character.

When you entered the environment
there was some confidence.

There was joking around.

Once, while he was mixing,
in agreement with Sergio Leone

Fausto changed the music.

Sometimes, Ennio
would fall asleep in the hall

then slowly change and put on
music by another musician.

At that point, he would wake up.

"What happened?"

And he would reply,
"Didn't you like it?"

I met Sergio Leone

when I made
"The Good the Bad and the Ugly".

From there until
"Once Upon a Time in America"

I mixed everything.

Leone creates

his expressive revolution
within his field.

The highest example is

the beginning of
"Once Upon a Time in the West".

Those long credits
that made history.

The squeaking of the mill
and everything.

He had made the music,
as beautiful as ever.

When we went to mix,
Ennio was not there.

So, he says to me

"Fausto,
let's get this music off."

"Sergio, are you sure?"
"Let's get this music off."

Those realistic sounds are not

the negation
of Morricone's music.

They are the fruit
of their intense collaboration.

When we mixed,
Ennio Morricone came to see.

At the beginning,
we didn't say anything to him.

"Sergio, you made
the most beautiful music ever".

He didn't take it personally!

For 70 years, cinema has been
the art of synthesis.

Leone showed us it was possible

to tell the life of a man
in 90 minutes

and Leone told us

how time can be suspended

lengthened,
transformed, multiplied

and how cinema can also be
the art of telling about waiting

of telling
that nothing is happening.

This belonged to literature,
but not to cinema.

The one about the fly trapped
in the gun was my idea.

That's for sure, I bragged a lot
about it to Sergio afterwards.

You never feel the anguish
of the editing director

who must necessarily close
one situation

to make room for the next one.

The story has to breathe
on its own.

You feel this and it's special,
new and perfect.

"Once Upon a Time in the West"
is an arthouse film.

I set out
to tell through a parable

as it could have been
a fairy tale, or a western

to tell the story of the birth
of the American nation.

I was very young,
I was a young boy.

For me, it was a great honor
to hang out with Sergio Leone.

Bernardo, Sergio and I
wrote this treatment

that was then
the basis of the film.

At the beginning, we used
to meet at Sergio's place.

Then, we started meeting
at Bernardo's or at my place.

This job lasted quite a lot,
two or three months.

The main character was a woman.

He had never worked
with women in his movies.

I think it was for this reason
that he took Bernardo and me

because we were very young.

He thought screenwriters
at that time, of a certain age

did not know about femininity.

I did the first part
and Bernardo did the second one.

We went to a copy shop
with a big pack of papers

and this woman started writing.

While she was writing,
we stood there waiting

because we wanted
to take it away.

He became passionate
about this story.

She loved it so much.

Every now and then she would
say, "This scene is beautiful".

We were thrilled by this fact,
it was an important moment.

ONCE UPON A TIME IN THE WEST

Sergio took some
very famous actors at the time

among whom excelled Henry Fonda.

The nicest actor
in Hollywood history.

I can tell this anecdote.

He came to Italy transformed.
He was someone else.

He had black hair,
Spanish-style sideburns

and even black contact lenses.

I left him like he was.

Slowly and gently, I tried
to postpone his entrance.

Day by day, I made him take off
something of this masking.

Finally, before going on stage,
I said to him

"Shouldn't you also remove
these black contact lenses"

"that make your gaze fixed,
monotonous?"

"You have
wonderfully expressive eyes"

He finally took them out.

I put the car behind him

and almost surprisingly
doing a circular cart

I would make discover

that underneath
this terrible murderer

there is none other
than Henry Fonda.

As a great actor
and experienced actor

he said, "Jesus Christ,
now I understand".

He loved John Ford, Howard Hawks

the great myths
of American Western cinema.

He felt he needed to tell
their stories in another way.

I don't fight
to impose my ideas on others.

I fight to not let others' ideas
impose themselves on me.

Entertainment should be
a vehicle

a bicycle to get to make
speeches that interest us

but without taking a position.

Taking a position means
making an advertisement

and that's a kind of cinema
I don't like.

He didn't make easy films.

They were very difficult
and political.

There was a lot of thought
behind them

and a lot of commitment.

REVOLUTION IS AN ACT OF VIOLENCE

He addresses certain issues
with his own way of seeing

that is that of a kid
who remembers how to play

but who already knows
how the world of adults works.

Late 1967, early 1968,
I went to America

in an attempt to make
"Once Upon a Time in America".

The idea had been
with me for a long time.

I am very stubborn,
very tenacious.

In fact, I make the cinema
I love to make.

I have to love a film viscerally
and from the inside out.

Why haven't you done
anything for two years?

I'm stuck.

It's quite a story the whole
audience knows it by now.

This is for
"Once Upon a Time in America"?

Yes, it's for
"Once Upon a Time in America."

I've started the script
and I can't buy the copyright.

I hope to break the deadlock,
we'll see.

For 10 long years if not longer,
this has been the focal point.

I remember him
telling us about the film

even before he had written it.

I think Dad read us the script
at least 100 times.

In the evening
he would come back and say

"I changed this, I did this".

Initially the film was called
"Once Upon a Time, America".

Then, he said it was
a little too pretentious.

We experienced the joy of seeing
his dream finally coming true

when Arnon Milchan appeared
in his life and in ours too.

The story is an ideal
continuation of a triptych

and the pretext of gangsterism,
of American reminiscence

is the pretext for a European
like me with my background

to express my love
for American cinema.

The subtitle of the film
could be

"'Once upon a time, there was
a certain kind of film".

Color will be an important
feature. Here are the colors.

In my opinion, the right tones
are brown and beige.

This is the Lyric Theatre
that we do exactly the same.

"Once Upon a Time in America" is
my father's way of thinking big.

I want this aerial orchestra.

It seems like something
out of a storybook.

For its melancholy for the past.

During the first scene he shot,
we were all tense

because it was so many years…

For me it was like watching him
shoot for the first time.

Dad was very excited.

He could finally start
his big dream.

Cut!

He never sought applause
or sympathetic film criticism.

It arrived with
"Once upon a time in America".

He was very surprised

by the clamor the film received
at Cannes Film Festival.

His surprise

when the 20 minutes of applause
in the hall went on forever.

I remember the look in his eyes

which in front of others
went unnoticed

but it was
incredibly emotional for me.

Then, the next day's criticism
made him happy.

As usual, as he would have done
in one of his films

it didn't end so well.

This is what worries me the most

to get to cut it to two hours
and three quarters

they're forced to do a new edit,
so it is no longer my film.

It was a big deal for him.

If I had been him

I would have been curious
to see the havoc

that had been wrecked.

He never wanted to see it.
That was his creature.

I remember
we went to Leningrad

where he narrated
the whole film.

There was a page
written in Leningrad

he had the whole film
in his head.

He thought of De Niro.

Among his collaborators
there was Tonino Delli Colli

who stammered back to him

"You know we're going to die
in Russia, right?"

"-40 degrees,
it's going to be freezing cold"

"you're sick, in the trenches."

"Can't we do a good
detective story set in Paris?"

"Can't we do it in the theater?
We're old people."

He always told me
he wanted to make this film.

I would occasionally ask him

"If you have the script ready,
let me read it".

He used to tell me:
"I haven't done it'.

He always told me this.

He knew he couldn't do it.

SILENCE

It is like going
to an art gallery

to see paintings
of a revolutionary artist.

You are enchanted.

It has been 38 years since
the first time I came to Italy

as a young actor for an equally
young director, Sergio Leone.

That event was
a positive turning point

for both our careers.

Thank you very much, Sergio.

A lion for Leone.

The director is missing,
but not only me,

the whole world.

I miss a person who was
looking for the best in me

knowing that I could give it.

If you had Sergio here,
what would you say to him?

Me personally:
"How much I missed you."

That's all.

Come back.

I'd like to say
thank you to him.

Wait, I'll be fine.

What is it? Thirty-five years?