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Translation of Waterhouse34
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You wouldn't say it but it's
a very enigmatic character.
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{\an8}It's as if we knew him and
that we had always loved him.
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Serious, very serious.
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Still very...
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very busy.
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He has incredible power
to always be himself,
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and at the same time to renew
still his personality.
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We're talking about a genius there.
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Ennio Morricone is the big exception
to all the rules.
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{\an8}The best compass
which I have never followed.
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A great talent very well hidden,
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but it blows up in your face
with each composition.
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{\an8}He decided the destiny of music.
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I have never seen a phenomenon
like Ennio Morricone.
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At the very least we can say that it is
of the outline of a masterpiece.
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{\an8}Watching him work,
It’s like watching an athlete.
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Working with Ennio Morricone,
it was like winning a medal.
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{\an8}His music is very innovative.
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{\an8}It was very new at the time
and it still is today.
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A special man.
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He was crazy.
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That's for sure.
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Ennio's universe has not yet been
totally discovered.
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I never thought that
music was my destiny.
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I wanted to become a doctor.
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My father said:
“No, he will learn the trumpet.”
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And he sent me to the Conservatory
to learn the trumpet.
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It was dad who decided
that I will become a trumpeter.
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I never chose.
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As you see,
I was really a kid.
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In music theory, I was terrible.
3 on average in the first quarter.
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My father took me back sternly.
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During the holidays, I didn't play
at the raffle or at 7 and a half.
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Let's see the fight.
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Then I got better.
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I was 6 years old when my father
taught me the treble clef,
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explaining the notes to me and
their position on the staff.
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The father played the trumpet
in a military band.
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He played in variety cinemas.
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At home, we had a record player.
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This is how I discovered
“Der Freischütz”,
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and that I wrote hunts.
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For 2 horns.
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Without interest... At 10 years old, I
remember, I tore everything up.
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I started playing the trumpet at 11.
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At 16, I graduated.
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My father told me
that there was a young man,
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the trumpeter's son
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who came there, into the pit,
with his music manuscript
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and who fell asleep.
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He played the trumpet,
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and he fell asleep during the games
where he didn't play.
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At the “Casina delle Rose”,
Mario Riva was the host.
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There was Ennio Morricone's dad
and they played together.
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An extraordinary trumpeter.
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But he was very strict.
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He was very careful about spending.
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He had the same trumpet his whole life.
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When his father gave him
a trumpet, he said to him:
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"I give you a livelihood and
you will do the same with your family.”
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Finished.
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He bought me a second-hand trumpet.
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It cost less, we saved.
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He will be a musician, period.
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I remember that during
the German occupation
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and later with the Americans,
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I played in a lot
orchestras in hotels.
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We weren't paid,
we just went there to eat.
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Some of my colleagues put
a saucer on the battery
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for the soldiers to put a coin.
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The family lived off the father's work.
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When his father fell ill,
Ennio had to replace him
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in nightclub orchestras.
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Play the trumpet for
have money to eat
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was a great humiliation for me.
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This...
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I really felt
this humiliation.
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And after that,
I didn't like the trumpet anymore.
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When I replaced my father,
I played until 2 or 3 a.m.
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In the morning, I got up early because
I went to the conservatory,
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and I had homework too.
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On the trumpet exam,
I arrived with a split lip.
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I was exhausted, the exam was...
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medium.
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My rating was 7.5.
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During this time, I studied harmony.
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I wasn't strict about the rules,
I enriched them, made them flourish.
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Roberto Cagiaro, my master,
at the end of the course, told me:
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"Now you have to
study composition.
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And I listened to Cagiaro.
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These...
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Goffredo Petrassi is a great
classical composer of the 20th century.
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He was one of my great teachers.
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During my seventh year,
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I was in a class
advanced composition,
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led by 2 famous teachers.
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Petrassi was one of them.
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Music is an intellectual fact.
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I studied his scores, which
I loved their writing.
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Writing, the beauty of writing.
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Every unison
is not really in unison,
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because something
something new is created.
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Partitions that we
followed like a course.
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I then decided to go see Petrassi.
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Morricone always made it clear
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that he himself had chosen
Petrassi as teacher.
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His secretary immediately told me:
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"Maestro, the class of Petrassi
is complete, this will not be possible.
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"If I don't follow Petrassi's course,
I'm leaving the conservatory."
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You study the techniques
composers,
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to make them your own.
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At first I was very intimidated
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because we knew that all
Students in this course were excellent.
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All were good composers.
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Ennio Morricone had
humbler origins
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than the other students.
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The conservatory belonged to the elite.
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In front of these giants, I was so small.
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I almost felt humiliated.
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He looked at us a little with deference.
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It was rare that a trumpeter
studies composition.
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So I think Ennio Morricone
was discriminated against.
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For 1 month or 2, Petrassi
asked me to do some dances.
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The tarantella.
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The stuffed one.
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The jitter.
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Boogie-woogie.
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Samba.
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I didn't like it.
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He wasn't very happy with me.
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Initially, I had the feeling
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that Petrassi underestimated Ennio a little.
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That he wasn't interested
not really his.
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Finally, after the dancing episode,
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he explained “ricercare” to me.
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And he asked me to write one.
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From there,
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I stopped making mistakes.
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So he gave me a big
satisfaction, like a maestro.
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It was a counterpoint
in 4 parts...or 5...
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This is the form that preceded
the fugue, very interesting,
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Frescobaldi was the leader.
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A century before Bach,
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he evoked the counterpoint with
2 simultaneous melodies.
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During these 10 years with Petrassi,
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the maestro was initiated into Palestrina
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and to Monteverdi,
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the absolute master of counterpoint,
without equivalent in the world.
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Petrassi was so influenced
by Stravinsky
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which he ended up transmitting
his passion in Morricone.
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I listened to one of the most
great pieces by Stravinsky.
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The “Symphony of Psalms”.
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{\an8}Do the piano sforzando.
The same thing, as it is written.
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I had heard it, as a child,
conducted by Stravinsky.
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A rehearsal, in Santa Cecilia.
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There was a window, the door
open, the orchestra playing...
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And I was...
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This piece has me
always very touched.
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Piano. Subito piano.
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While I was studying composition,
my father didn't show anything.
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I was in my room
and I wrote, I wrote, I wrote.
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An attentive, lively student.
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I was happy and
optimistic about its future.
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I studied and worked.
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He played the trumpet
at the Sistine Chapel.
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I was the first trumpet,
I played in all the magazines:
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Walter Chiari, Tognazzi,
Rascel, all the comics:
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Dapporto, Wanda Osiris, Macario, Totò...
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The most beautiful thing was the
last parade of dancers,
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I complimented them
when they passed me.
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I told them the titles of the songs
Americans that we had just played.
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“My dreams.”
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They were smiling at me!
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Afterwards, so as not to
miss the trolleybus,
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I put down the trumpet and went home
running home.
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Musica, maestro!
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I was making arrangements in secret.
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Petrassi didn't know it.
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He found out later.
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The first to call me
was Carlo Savina.
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Savina once complained about a
arrangement, in a violent way.
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He threw away his sheet music.
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I used to experiment.
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Savina called me, a little angry:
"A sharp was missing,
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here a flat, what is this note?"
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Savina was old school.
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Unlike the arrangements
by Morricone which were very modern.
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My first experiences
cinematographic
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I knew them at the trumpet,
in the orchestra pit.
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I participated in a few
beautiful representations: Lavigno,
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Franco Bacchiardi, Enzo Masetti.
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Once I played "Fabiola",
by Alessandro Blasetti.
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During the final composition exam,
we had to write a lyrical scene.
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There, I ran away twice:
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Two subjects and two counter-subjects.
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Glaucos is about to dock
with the raging sea.
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Circe arrives, ready to seduce him.
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And I had written a score
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both convoluted and elegant.
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So sinuous, so sensual.
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And she gets there...
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and she fails.
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In the jury, there were:
Guido Guerrini, the director,
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Guido Turchi, Fernando Previtali,
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Goffredo Petrassi and Virgilio Mortari.
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They didn't really love each other.
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Guerrini did not understand
the music Petrassi wrote.
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There was some rivalry.
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He asked me a trick question.
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"Why did you split up
a double bass pizzicato
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between the idle rope and
the higher octave.
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“Why did you do that?”
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I didn't have time to respond.
Petrassi jumped at his throat:
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“But what is this question?”
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Petrassi got angry.
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They gave me 9.5/10.
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I remember it because
that I was given 9
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and I was jealous of its 9.5.
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I left the Conservatory
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and as usual,
I accompanied Petrassi,
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at 181 rue Germanico
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This time...
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we were both moved.
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He was crying and so was I.
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He promised to find me a job.
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He wanted me to teach
at the Conservatory.
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But I didn't see it coming.
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In the army, they put me
directly into the fanfare.
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The colonel ordered me
orchestrations.
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We marched in the streets.
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And my fiancée, Maria, was chasing me.
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She was so pretty.
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He married Maria,
it was rare at our ages.
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She was her husband's equal.
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She was a serene woman.
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Always smiling,
we called her the Madonna.
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Leaving the conservatory,
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I was like a naked composer
facing his time.
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I wanted to defend myself
against this loneliness.
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So I wrote my first
concerto for orchestra.
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My mother, in front of my
musical choices, told me:
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"But Ennio, make me a beautiful melody,
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a beautiful song."
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She used to pester me: “Write a song,
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You must compose a beautiful melody!
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And there you will be successful.”
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I heard him playing from morning to evening.
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He did not compose
more film music.
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He was very poor.
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Maria, as she worked
to Christian Democracy,
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00:19:32,568 --> 00:19:37,008
without telling me, recommended it to me
and got me hired at RAI.
253
00:19:37,320 --> 00:19:40,840
The first day,
the director calls me.
254
00:19:41,280 --> 00:19:47,080
He said to me: “Maestro,
you won't be able to make a career here.
255
00:19:47,320 --> 00:19:51,240
Your compositions will not be able to
be played at RAI.
256
00:19:51,920 --> 00:19:55,287
“What am I doing here?
I'm resigning."
257
00:19:58,101 --> 00:20:00,901
Thanks to Petrassi, I
went to Darmstadt,
258
00:20:01,360 --> 00:20:03,080
at a contemporary music festival.
259
00:20:03,156 --> 00:20:06,236
It was a period of confusion
for contemporary music.
260
00:20:11,720 --> 00:20:16,160
John Cage came to Darmstadt
to criticize it.
261
00:20:16,280 --> 00:20:19,280
During his concert he played
2 notes on the piano,
262
00:20:19,440 --> 00:20:21,400
he turned the radio on, turned it off,
263
00:20:21,640 --> 00:20:23,240
flicked, turned pages...
264
00:20:34,360 --> 00:20:36,080
I had an idea,
265
00:20:36,280 --> 00:20:39,080
I was among my colleagues,
all graduated in composition,
266
00:20:39,280 --> 00:20:44,160
Franco Evangelisti, Boris Porena, Aldo
Clementi, Egisto Macchi, and the others.
267
00:20:44,261 --> 00:20:46,141
So you do a kind of...
268
00:20:46,560 --> 00:20:48,040
of grunting.
269
00:20:48,160 --> 00:20:51,277
You make a noise in your throat.
270
00:20:51,512 --> 00:20:53,352
And I begin to direct...
271
00:21:00,152 --> 00:21:04,066
This is where the group was born
of improvisation: “Nuova Consonanza”.
272
00:21:07,480 --> 00:21:09,720
It was a break-up band.
273
00:21:09,800 --> 00:21:14,320
He did not use the techniques
traditional sound emission methods.
274
00:21:14,520 --> 00:21:16,200
They used techniques...
275
00:21:16,640 --> 00:21:17,680
extremes.
276
00:21:17,920 --> 00:21:23,584
We produced traumatic sounds.
We called them that, in fact.
277
00:21:26,111 --> 00:21:28,311
We shouldn't
recognize the trumpet.
278
00:21:28,400 --> 00:21:29,960
We played them all
possible ways.
279
00:21:30,026 --> 00:21:33,895
By placing the hand in front of the flag,
by pushing the pistons halfway.
280
00:21:34,000 --> 00:21:37,760
It gave a kind of
meow weird and ugly too.
281
00:21:40,400 --> 00:21:43,595
Another way of making music.
282
00:21:53,859 --> 00:21:58,898
It was work on sound
rather than the melody.
283
00:21:59,048 --> 00:22:01,048
In fact, the melody
was almost forbidden.
284
00:22:01,160 --> 00:22:03,960
But Ennio worked every day
on the melody.
285
00:22:04,120 --> 00:22:09,080
It was a total contradiction
but cinema has arrived.
286
00:22:09,360 --> 00:22:13,280
♪Cinema, what a passion! ♪
287
00:22:13,600 --> 00:22:16,520
I made all the arrangements
of the Cetra Quartet.
288
00:22:16,545 --> 00:22:20,436
They chose the pieces,
gave me a sort of rough draft.
289
00:22:20,680 --> 00:22:23,360
And I transformed the draft
in orchestral score.
290
00:22:23,600 --> 00:22:26,920
♪The gesture of Robin Hood♪
291
00:22:27,912 --> 00:22:31,352
They mainly chose pieces
that people knew,
292
00:22:31,600 --> 00:22:34,320
and they changed the words.
293
00:22:34,600 --> 00:22:36,840
♪Senato, senato, senato♪
294
00:22:36,960 --> 00:22:39,360
♪L’interpellanza che ho preparato♪
295
00:22:39,600 --> 00:22:42,400
♪Senato, senato, senato♪
296
00:22:42,560 --> 00:22:44,840
♪I fatti egizi risolverà♪
297
00:22:45,040 --> 00:22:47,080
Lots of music on each show.
298
00:22:47,200 --> 00:22:49,680
I was given the draft the day before
299
00:22:49,760 --> 00:22:51,920
and we recorded the next morning.
300
00:22:52,240 --> 00:22:54,800
So I spent the night composing.
301
00:22:55,040 --> 00:22:58,480
♪Quando mamma mi ha fatto
When mamma mi ha fatto♪
302
00:23:00,040 --> 00:23:03,680
♪Disse figlio wheno puoi
Fatti semper i fatti tuoi♪
303
00:23:03,840 --> 00:23:07,760
In fact, he was a kind of "nigger".
304
00:23:07,960 --> 00:23:10,240
They made arrangements
for everyone
305
00:23:10,320 --> 00:23:11,840
but he didn't appear anywhere.
306
00:23:12,120 --> 00:23:14,965
For television, film music.
307
00:23:15,160 --> 00:23:18,160
Cicognini was among the first.
308
00:23:18,240 --> 00:23:21,960
An excellent composer, he made a
film with De Sica, at that time.
309
00:23:22,160 --> 00:23:27,440
♪ You are whiter than you,
I'm blacker than you. ♪
310
00:23:27,600 --> 00:23:29,280
♪Ninna Nanna♪
311
00:23:29,520 --> 00:23:34,262
This song with the choir,
I arranged and directed it.
312
00:23:35,800 --> 00:23:37,240
Maestro Ennio Morricone.
313
00:23:37,360 --> 00:23:40,760
A baritone arrived one day in the RCA.
314
00:23:40,880 --> 00:23:43,360
He sang songs from the 1930s.
315
00:23:43,416 --> 00:23:45,736
And I hear
extraordinary arrangements.
316
00:23:45,855 --> 00:23:48,695
Maestro Morricone, renowned arranger.
317
00:23:48,960 --> 00:23:51,400
And the name Ennio Morricone appeared.
318
00:23:51,515 --> 00:23:55,522
I was called to save
the CAR which was collapsing.
319
00:23:55,760 --> 00:23:58,890
We saved her with
the “Tin Can”.
320
00:24:01,880 --> 00:24:05,208
You have a dream, a dream of
tin can.
321
00:24:05,263 --> 00:24:08,981
♪ Roll it... ♪
322
00:24:09,200 --> 00:24:10,920
It really sounds 60s.
323
00:24:11,000 --> 00:24:14,960
But the can is an element
strange completely out of context.
324
00:24:15,080 --> 00:24:18,351
There is a shock of information
for the listener.
325
00:24:26,840 --> 00:24:28,400
Meccaia didn't really like the idea
326
00:24:28,480 --> 00:24:31,600
but Ennio had already left
pick up cans
327
00:24:31,680 --> 00:24:33,828
to make them roll.
328
00:24:35,640 --> 00:24:37,880
You are used to a
melodic music,
329
00:24:37,960 --> 00:24:40,320
like Italian music was
until then.
330
00:24:40,480 --> 00:24:43,894
Hearing these noises was new.
331
00:24:47,701 --> 00:24:52,301
He used a typewriter
like a musical instrument.
332
00:24:52,680 --> 00:24:53,640
Yes, exactly.
333
00:24:53,720 --> 00:24:57,579
With a well-written part and
played by a real performer.
334
00:25:01,460 --> 00:25:05,960
For "Pinne, Fucili ed Occhiali", we
had put a bathtub in the studio
335
00:25:06,040 --> 00:25:08,400
to obtain the "splash" effect.
336
00:25:08,487 --> 00:25:10,847
But that didn't suit Ennio.
337
00:25:10,920 --> 00:25:14,440
We tried to put laundry detergent on,
blankets,
338
00:25:14,520 --> 00:25:16,160
Ennio wanted a dip...
339
00:25:16,236 --> 00:25:17,476
With water.
340
00:25:21,560 --> 00:25:24,989
Every song had genius.
341
00:25:25,360 --> 00:25:27,600
He fused the trumpet
with female voice
342
00:25:27,687 --> 00:25:30,807
and the trombone with a man's voice.
343
00:25:30,913 --> 00:25:33,433
The sound was so new.
344
00:25:34,314 --> 00:25:36,360
He revolutionized the CAR.
345
00:25:36,449 --> 00:25:41,605
Before him, the arrangements were
of mortal boredom.
346
00:25:41,870 --> 00:25:46,480
The arrangers were
Morricone and Bacalov.
347
00:25:46,680 --> 00:25:50,960
I asked for Morricone because
that I found it more brilliant.
348
00:25:51,200 --> 00:25:53,018
I am not deceived.
349
00:26:10,560 --> 00:26:15,192
These very simple things,
were a hit.
350
00:26:15,800 --> 00:26:19,956
I added a pattern to the piano.
351
00:26:26,080 --> 00:26:28,240
The dignity of the composer,
352
00:26:28,360 --> 00:26:30,880
as I had it
taught my master...
353
00:26:31,000 --> 00:26:33,760
I felt the duty to integrate
354
00:26:34,160 --> 00:26:37,120
in these worthless little songs
355
00:26:37,400 --> 00:26:41,040
some principles of music
dodecaphonic,
356
00:26:41,120 --> 00:26:43,200
transposed into tonal music.
357
00:26:53,062 --> 00:26:57,835
He colored these songs,
he completely transformed them.
358
00:26:58,080 --> 00:26:59,600
♪ No son degno tells you ♪
359
00:27:01,680 --> 00:27:04,240
♪ No more merit. ♪
360
00:27:09,840 --> 00:27:11,720
There was counterpoint.
361
00:27:11,800 --> 00:27:15,040
Nothing imposed it, it was enough
of a support agreement.
362
00:27:15,240 --> 00:27:17,466
He put counterpoint,
all the time.
363
00:27:25,440 --> 00:27:27,920
I believe he invented the arrangement.
364
00:27:28,000 --> 00:27:30,280
Until then, the songs
were accompanied.
365
00:27:30,360 --> 00:27:32,880
Before Morricone,
there was only support.
366
00:27:32,960 --> 00:27:37,733
The orchestra stuck to the chords,
produced a background sound.
367
00:27:37,866 --> 00:27:42,147
But he started to
personalize songs.
368
00:27:43,941 --> 00:27:49,181
The arrangements added
an added value to the song itself.
369
00:27:49,600 --> 00:27:52,737
I didn't think I was the inventor.
370
00:27:57,000 --> 00:27:59,360
I saw him writing, hanging on the telephone.
371
00:27:59,448 --> 00:28:03,008
He wrote the arrangements
violins, trumpets.
372
00:28:03,080 --> 00:28:05,373
He was composing while talking on the phone.
373
00:28:05,459 --> 00:28:10,529
He stood facing the piano.
374
00:28:10,596 --> 00:28:13,636
He looked at the keys
then began to write the score.
375
00:28:14,040 --> 00:28:15,920
He imagined the sounds.
376
00:28:16,000 --> 00:28:18,110
He looked at the keys and
wrote the notes.
377
00:28:18,172 --> 00:28:19,320
Without playing them.
378
00:28:19,345 --> 00:28:21,145
He had music in him.
379
00:28:21,195 --> 00:28:24,240
The orchestra is conducted by
maestro Ennio Morricone.
380
00:28:36,451 --> 00:28:38,731
If you listen carefully, there is a trick.
381
00:28:40,160 --> 00:28:41,440
Lots of arrangements
382
00:28:41,800 --> 00:28:45,280
emanate from the start
catchy parts.
383
00:28:45,504 --> 00:28:47,744
It is led by
maestro Ennio Morricone.
384
00:28:47,880 --> 00:28:50,440
He wrote an extraordinary arrangement
for Paul Anka,
385
00:28:50,560 --> 00:28:52,599
with this incredible start.
386
00:29:01,292 --> 00:29:05,042
- 10 seconds that stick you to your chair.
- He sings from the start.
387
00:29:11,176 --> 00:29:14,260
Ennio invented musical phrases
388
00:29:14,339 --> 00:29:16,760
who seemed to be chasing each other.
389
00:29:16,892 --> 00:29:20,212
It is the mark of
makes song.
390
00:29:30,720 --> 00:29:34,455
This discovery immediately made
recognizable the piece.
391
00:29:35,469 --> 00:29:38,509
The greatest artists of
the time wanted Morricone.
392
00:29:42,000 --> 00:29:44,040
I also worked with Chet Baker.
393
00:29:44,440 --> 00:29:46,640
An extraordinary trumpeter.
394
00:29:46,760 --> 00:29:49,916
The sound was so dark
that it looked like a flugelhorn.
395
00:29:53,951 --> 00:29:58,511
The game of my father, aged 55,
began to decline.
396
00:29:58,840 --> 00:30:02,030
I never played a trumpet
in my compositions.
397
00:30:02,400 --> 00:30:03,560
So as not to offend him.
398
00:30:03,880 --> 00:30:07,680
It was a dramatic episode of
my relationship with my father.
399
00:30:07,903 --> 00:30:10,983
My mother asked me: “Why
you don't make your father work?
400
00:30:11,600 --> 00:30:16,280
I never told him that daddy
was no longer a great trumpeter.
401
00:30:16,480 --> 00:30:20,000
I no longer called
nor to his colleagues.
402
00:30:20,240 --> 00:30:22,050
I felt that this is what
I had to do.
403
00:30:22,137 --> 00:30:25,617
When he died, I used
the trumpet again.
404
00:30:30,400 --> 00:30:32,240
He only thought about music.
405
00:30:32,320 --> 00:30:35,200
He was so in love with music
that nothing else mattered.
406
00:30:35,324 --> 00:30:38,785
He was absent very often.
407
00:30:41,800 --> 00:30:43,440
He worked miracles for me.
408
00:30:43,640 --> 00:30:45,320
“No son degno tell you”,
"In ginocchio da te",
409
00:30:45,600 --> 00:30:48,240
“Se non avessi più te”,
“The fisarmonica”.
410
00:30:48,440 --> 00:30:51,360
The 45 rpm was a commercial format.
411
00:30:51,658 --> 00:30:55,744
I was therefore obliged to
work on the rhythm.
412
00:30:55,960 --> 00:30:58,650
At the time the 33 t. sold little.
413
00:30:58,833 --> 00:31:02,653
But my ideas could
express yourself in this format.
414
00:31:05,827 --> 00:31:08,787
He could also add
classic passages.
415
00:31:09,120 --> 00:31:13,507
In "Voce 'e notte", he begins with the
Beethoven's Moonlight Sonata.
416
00:31:22,520 --> 00:31:25,720
It was a Beethoven nocturne,
417
00:31:25,880 --> 00:31:29,000
which seemed coherent to me
for "Voce 'e notte".
418
00:31:34,040 --> 00:31:38,440
He made the arrangement of
“Ciribiribin” for 4 pianos.
419
00:31:42,560 --> 00:31:44,360
I took the start of...
420
00:31:48,120 --> 00:31:49,400
The beginning of the melody,
421
00:31:49,480 --> 00:31:52,200
I used it as a base
for the whole arrangement.
422
00:31:52,280 --> 00:31:55,000
This arrangement was
an absolute invention.
423
00:31:55,120 --> 00:31:56,640
I remember him saying:
424
00:31:56,712 --> 00:32:00,766
"The arrangement of a song is
a solo that I thought of myself."
425
00:32:00,818 --> 00:32:02,378
He explained his choices.
426
00:32:02,545 --> 00:32:05,087
And 99 times out of 100, you were convinced.
427
00:32:05,480 --> 00:32:07,280
And then 1 time, no.
428
00:32:07,480 --> 00:32:09,720
Zambrini composed "In ginocchio da te".
429
00:32:09,920 --> 00:32:13,040
He wrote a first
arrangement of my music.
430
00:32:13,241 --> 00:32:15,081
We enter the studio.
431
00:32:15,320 --> 00:32:18,960
Ennio gets on the stage and
begins to lead.
432
00:32:19,320 --> 00:32:20,640
We listen.
433
00:32:20,720 --> 00:32:25,376
And I saw that Migliacci,
the sound engineer made a grimace.
434
00:32:25,640 --> 00:32:27,000
It was very slow.
435
00:32:27,351 --> 00:32:30,671
“It’s not right, it’s lacking rhythm.”
436
00:32:30,763 --> 00:32:34,120
At the beginning there must be
a momentum that is absent.
437
00:32:34,193 --> 00:32:36,273
“So what do we do?
We're starting all over again."
438
00:32:36,487 --> 00:32:37,807
It didn't come apart.
439
00:32:37,882 --> 00:32:42,233
He returns home to write
again and arrives on Friday.
440
00:32:42,448 --> 00:32:44,848
He was a little tense.
441
00:32:45,200 --> 00:32:47,840
He said to me: “Try
to sing live.
442
00:32:48,120 --> 00:32:49,120
And I get started.
443
00:32:52,156 --> 00:32:54,236
I saw Migliacci in his corner...
444
00:32:55,480 --> 00:32:56,640
who did not agree.
445
00:32:56,760 --> 00:32:59,720
“Ennio, we’re not going anywhere.
It’s still so sweet.”
446
00:32:59,920 --> 00:33:02,320
I told him:
“Ennio I have to do it again.”
447
00:33:02,600 --> 00:33:04,160
“But it’s a melodic song!”
448
00:33:04,320 --> 00:33:05,960
He told me she wasn't
not made for dancing.
449
00:33:06,038 --> 00:33:08,952
"I give up, give
arrangement to another."
450
00:33:09,080 --> 00:33:10,280
“You have to do it Ennio.”
451
00:33:10,400 --> 00:33:13,200
I was desperate, I felt
rage rising within me.
452
00:33:15,840 --> 00:33:18,320
In short, he reminds everyone.
453
00:33:18,400 --> 00:33:20,120
An orchestra of 40, 50...
454
00:33:20,200 --> 00:33:24,762
8 backing singers, guitarists,
keyboards, harpsichords.
455
00:33:24,865 --> 00:33:27,945
Trombones, horns...
456
00:33:28,480 --> 00:33:31,000
He returns home,
furious but he writes.
457
00:33:31,089 --> 00:33:32,680
- The next day....
- He's coming.
458
00:33:32,920 --> 00:33:34,880
“Take it or leave it,
I won’t do it again.”
459
00:33:35,287 --> 00:33:37,767
“Here’s the smut you like.”
460
00:33:37,869 --> 00:33:39,280
And he throws the score at me.
461
00:33:39,393 --> 00:33:42,033
“Here, there’s your shit!”
462
00:33:42,240 --> 00:33:44,320
He gets on the stage and begins.
463
00:33:44,920 --> 00:33:48,325
I remember very well: the piano.
464
00:33:49,833 --> 00:33:51,320
The ropes.
465
00:34:03,200 --> 00:34:04,480
Migliacci said:
466
00:34:06,960 --> 00:34:08,600
“Ennio, this is great.”
467
00:34:08,680 --> 00:34:11,080
“No, it’s ugly, I hate it!”
468
00:34:11,105 --> 00:34:12,344
It was very beautiful.
469
00:34:12,395 --> 00:34:15,163
He brought these questions and answers.
470
00:34:15,400 --> 00:34:16,840
♪Ritornerò♪
471
00:34:18,480 --> 00:34:19,920
♪In ginocchio da te♪
472
00:34:25,120 --> 00:34:29,229
Of course they made a movie
and he wrote the soundtrack.
473
00:34:32,640 --> 00:34:35,520
We knew that I was an arranger
a little weird.
474
00:34:35,914 --> 00:34:37,530
More difficult.
475
00:34:37,720 --> 00:34:42,180
We saw him less and less in the RCA.
476
00:34:46,320 --> 00:34:48,040
Luciano Salce already knew me
477
00:34:48,091 --> 00:34:49,891
and he called me for “Il Federale”.
478
00:34:50,227 --> 00:34:54,700
It was the first film that
I signed under my name.
479
00:34:58,048 --> 00:35:00,837
It was my debut so to speak.
480
00:35:05,432 --> 00:35:08,272
"Duello nel Texas",
and “Le pistole non discutono”
481
00:35:08,480 --> 00:35:10,600
are the first westerns
by Ennio Morricone.
482
00:35:10,720 --> 00:35:13,200
Both filmed in 1963.
483
00:35:15,880 --> 00:35:17,960
At first, he used pseudonyms.
484
00:35:18,120 --> 00:35:22,360
Nobody knows that Ennio Morricone
works on these westerns.
485
00:35:22,720 --> 00:35:25,680
Dan Savio was a friend of my wife.
486
00:35:25,880 --> 00:35:28,122
I took the name back: Dan Savio.
487
00:35:28,858 --> 00:35:33,513
Ennio did not want Petrassi
and his colleagues know
488
00:35:33,612 --> 00:35:36,670
that he made westerns.
489
00:35:39,908 --> 00:35:44,224
I remember inventing
the guitar ride.
490
00:35:54,360 --> 00:35:58,372
Sergio Leone calls me after
listened to the music of the 2 westerns.
491
00:35:58,480 --> 00:36:02,065
He comes to my house and
asks me to make his film.
492
00:36:02,206 --> 00:36:05,776
Seeing it, I say to myself...
that I knew this face.
493
00:36:05,920 --> 00:36:10,480
I said to him: "You wouldn't be the Leone
from the Carissimi school?"
494
00:36:11,200 --> 00:36:12,400
“Yes, it’s me.”
495
00:36:12,480 --> 00:36:14,080
“I am Ennio Morricone.”
496
00:36:14,730 --> 00:36:16,640
They were in the same school.
497
00:36:16,831 --> 00:36:20,768
There is a very nice photo
where there are all the schoolchildren in aprons,
498
00:36:20,880 --> 00:36:23,920
and we recognize Sergio Leone
and Ennio Morricone.
499
00:36:23,987 --> 00:36:27,034
2 classmates who
meet to work.
500
00:36:27,200 --> 00:36:29,598
They will become inseparable.
501
00:36:29,847 --> 00:36:33,367
He took me to see a Japanese film.
502
00:36:33,480 --> 00:36:34,917
He explains to me that...
503
00:36:35,260 --> 00:36:39,120
"For a handful of
dollars" was inspired by this film.
504
00:36:41,960 --> 00:36:46,240
Ennio had written an arrangement
for a western record,
505
00:36:46,520 --> 00:36:47,840
for an American singer.
506
00:36:47,949 --> 00:36:50,520
I told him: "Let me listen
something of you."
507
00:36:50,600 --> 00:36:54,951
And he had this record
with baritone voice.
508
00:36:59,380 --> 00:37:03,342
We had never heard such
arrangement for a western song.
509
00:37:03,480 --> 00:37:06,320
I asked him to
use it as a basis.
510
00:37:06,520 --> 00:37:09,520
I made the arrangement
as I wrote.
511
00:37:09,760 --> 00:37:12,120
He added a new melody.
512
00:37:12,201 --> 00:37:14,369
A whistled melody.
513
00:37:21,400 --> 00:37:27,071
Ennio called me to
come and whistle for a project.
514
00:37:27,280 --> 00:37:29,840
A very spiritual whistle.
515
00:37:32,920 --> 00:37:37,107
This is how “For
a handful of dollars."
516
00:37:45,209 --> 00:37:46,889
{\an8}When I saw the movie,
517
00:37:46,991 --> 00:37:49,849
{\an8}I was surprised because the music
was absolutely unique.
518
00:37:54,558 --> 00:37:56,560
It really changed things.
519
00:37:56,715 --> 00:38:00,746
{\an8}It's not the music
that we expect from a western.
520
00:38:00,887 --> 00:38:05,871
{\an8}We had never heard any music
so lyrical in a western.
521
00:38:09,439 --> 00:38:12,699
A work of true originality.
522
00:38:12,732 --> 00:38:14,177
Tones never heard before.
523
00:38:14,320 --> 00:38:16,280
We had never heard that.
524
00:38:16,360 --> 00:38:18,692
The electric guitar,
the whippings.
525
00:38:18,760 --> 00:38:19,840
The flute.
526
00:38:20,000 --> 00:38:21,880
The anvil, the hiss.
527
00:38:22,040 --> 00:38:23,000
The bell.
528
00:38:23,160 --> 00:38:24,600
He imposed a vocabulary.
529
00:38:26,503 --> 00:38:30,651
It was a culture shock at the time.
530
00:38:47,080 --> 00:38:49,720
Sergio asked me
to come see the film,
531
00:38:49,920 --> 00:38:53,280
notably the duel between
Will and Eastwood.
532
00:38:53,400 --> 00:38:54,849
The "Deguello" (military music).
533
00:38:54,880 --> 00:38:58,160
the passing of the trumpet
movie "Rio Bravo".
534
00:38:58,640 --> 00:38:59,920
It fit perfectly.
535
00:39:14,960 --> 00:39:18,000
Leone told me he didn't want it.
536
00:39:18,320 --> 00:39:20,720
I said, “Sorry, Sergio,
I can't accept
537
00:39:20,880 --> 00:39:24,320
that in the main scene,
you use "Rio Bravo",
538
00:39:24,480 --> 00:39:26,760
and I do the rest of the soundtrack."
539
00:39:35,475 --> 00:39:38,170
I told him that
no longer interested me.
540
00:39:38,358 --> 00:39:40,198
Sergio has given up on “Deguello”. But
he asked me to write an imitation.
541
00:39:41,800 --> 00:39:44,440
That it would be perfect.
542
00:39:44,840 --> 00:39:50,215
I remembered a song
that I wrote for a TV show.
543
00:39:50,320 --> 00:39:56,226
One of the Peter Sisters sang, one
magnificent contralto with a deep voice.
544
00:40:05,726 --> 00:40:09,327
I had to talk to Sergio about it.
545
00:40:24,707 --> 00:40:29,902
{\an8}His music helped make me
more dramatic and it's not easy.
546
00:40:41,800 --> 00:40:45,120
Of course, I asked
Michele Lacerenza, the trumpeter,
547
00:40:45,240 --> 00:40:48,385
to add these notes in cascade.
548
00:40:54,320 --> 00:40:56,756
As in "Rio Bravo".
549
00:41:01,913 --> 00:41:03,710
Best film score:
550
00:41:03,851 --> 00:41:06,999
Ennio Morricone,
“For a Fistful of Dollars”
551
00:41:13,200 --> 00:41:14,960
Morricone please, a few words.
552
00:41:16,400 --> 00:41:20,360
We weren't expecting you
not in this competition.
553
00:41:20,440 --> 00:41:22,560
- Is this your first reward?
- Yes.
554
00:41:22,647 --> 00:41:25,232
We therefore work with
musical terms in cinema?
555
00:41:25,304 --> 00:41:25,640
Yes.
556
00:41:25,720 --> 00:41:27,840
He looked so young.
557
00:41:28,000 --> 00:41:32,360
With his round face and those glasses,
558
00:41:32,440 --> 00:41:34,760
like in Snoopy,
559
00:41:34,920 --> 00:41:37,520
Charlie Brown, an adult Linus.
560
00:41:38,440 --> 00:41:42,040
Ennio was on the bill for
lots of Italian films.
561
00:41:42,240 --> 00:41:44,880
And I had fun listening, imagining
562
00:41:45,240 --> 00:41:47,080
how he collaborated
with the director.
563
00:41:49,680 --> 00:41:52,840
I took risks
with beginning directors.
564
00:41:52,960 --> 00:41:55,328
I tried to do
different music.
565
00:41:59,880 --> 00:42:02,800
Ennio is reserved, believing.
566
00:42:02,880 --> 00:42:06,262
What surprised me
so much it shows
567
00:42:06,340 --> 00:42:09,255
his anti-religious side in his films.
568
00:42:09,280 --> 00:42:13,200
I had written a lullaby,
with a female voice.
569
00:42:13,400 --> 00:42:16,560
It was full of dissonant sounds
570
00:42:16,640 --> 00:42:19,880
metallic vibrating surfaces.
571
00:42:35,160 --> 00:42:37,360
I loved making this film.
572
00:42:37,480 --> 00:42:41,089
Because he was less
commercial than others.
573
00:42:43,680 --> 00:42:47,200
With Sergio Leone, we went to see again
"For a handful of dollars."
574
00:42:47,360 --> 00:42:50,920
We admitted to ourselves that
We didn't like it.
575
00:42:51,288 --> 00:42:53,888
I never liked
the music of this film.
576
00:42:53,996 --> 00:42:57,676
I always encouraged Sergio,
in the following films, to forget it.
577
00:42:57,960 --> 00:43:01,800
But he insisted:
“Make me the trumpet and the whistle.”
578
00:43:09,232 --> 00:43:11,674
They had a bond of friendship,
579
00:43:11,800 --> 00:43:15,471
of complicity and they talked often.
580
00:43:15,640 --> 00:43:18,456
Sometimes...in a violent way.
581
00:43:42,440 --> 00:43:45,280
In the scene where Sergio
wanted the trumpet,
582
00:43:45,520 --> 00:43:52,738
I had the idea of citing the attack of
Bach in toccata in D major.
583
00:43:58,363 --> 00:44:01,682
The music of his westerns,
which he considered simplistic,
584
00:44:01,800 --> 00:44:03,680
were, on the contrary, very elaborate.
585
00:44:04,000 --> 00:44:07,440
knowledge, architecture
premeditated, impressive.
586
00:44:20,840 --> 00:44:23,400
Sergio Leone, with
"And for a few dollars more",
587
00:44:23,600 --> 00:44:27,320
began to understand
the importance of original soundtracks
588
00:44:27,440 --> 00:44:29,560
of Ennio Morricone in his films.
589
00:44:29,720 --> 00:44:34,352
He realized that maestro Morricone
was starting to have its audience.
590
00:44:44,080 --> 00:44:47,760
After quite a while,
I saw Petrassi again and he told me
591
00:44:47,920 --> 00:44:50,600
that he liked my music for the cinema.
592
00:44:50,840 --> 00:44:54,600
Speaking of a film that
surprised me from him:
593
00:44:55,000 --> 00:44:56,840
“And for a few dollars more”
594
00:44:56,960 --> 00:44:58,678
I was very surprised,
595
00:44:58,840 --> 00:45:02,035
because I had already written
much better music.
596
00:45:02,160 --> 00:45:06,280
And he added:
“But I know you’ll get through this.”
597
00:45:06,738 --> 00:45:10,081
“But I know you’ll get through this.”
598
00:45:12,680 --> 00:45:16,480
I don't believe that Petrassi
enjoyed this activity.
599
00:45:16,960 --> 00:45:19,800
And me neither, for that matter.
600
00:45:19,978 --> 00:45:25,133
On the one hand, we were
truly archaic.
601
00:45:25,299 --> 00:45:29,779
What do you think of the collaboration
between the composer and the director
602
00:45:29,914 --> 00:45:31,114
in film music?
603
00:45:31,400 --> 00:45:35,160
It's a way of working...
604
00:45:36,120 --> 00:45:37,280
anti-artistic.
605
00:45:38,000 --> 00:45:41,000
The composers from
from the Petrassi school,
606
00:45:41,834 --> 00:45:45,394
didn't see my
profession with a very good eye.
607
00:45:45,720 --> 00:45:47,640
I sold myself to the cinema.
608
00:45:48,000 --> 00:45:51,273
It isolated me a little.
609
00:45:51,568 --> 00:45:55,128
Once he called me,
he was young at the time
610
00:45:55,440 --> 00:45:57,960
and it was quite moving.
611
00:45:58,240 --> 00:46:02,080
He told me I was a purist
and that he was a traitor.
612
00:46:02,529 --> 00:46:06,185
He was very divided under
environmental pressure.
613
00:46:06,320 --> 00:46:08,840
“Who are you?”, so and so?
614
00:46:09,840 --> 00:46:13,520
Ennio, in his own way,
suffered from an inferiority complex.
615
00:46:13,773 --> 00:46:17,253
For having renounced the
purity of the composer,
616
00:46:17,560 --> 00:46:19,120
like Petrassi.
617
00:46:19,200 --> 00:46:23,280
Image that Petrassi will betray
himself more than once.
618
00:46:30,080 --> 00:46:32,160
Petrassi also wrote
original soundtracks.
619
00:46:32,240 --> 00:46:37,720
But Petrassi never thought that
film music was music.
620
00:46:38,080 --> 00:46:40,708
Ennio thought so.
621
00:46:45,000 --> 00:46:48,280
Petrassi was not
absolutely not sensitive,
622
00:46:48,360 --> 00:46:51,200
to what made the
particularity of Ennio,
623
00:46:51,360 --> 00:46:55,920
this ability to immerse ourselves
in a situation, in an image.
624
00:46:56,240 --> 00:46:59,800
Ability he probably didn't have,
no more than me.
625
00:46:59,880 --> 00:47:06,231
Besides, I also think that Petrassi
harbored an inferiority complex.
626
00:47:06,440 --> 00:47:09,240
Lately, I have also
composed "The Bible",
627
00:47:09,320 --> 00:47:12,640
helmed by a director named Huston.
628
00:47:12,800 --> 00:47:15,400
He wrote this music
by getting very involved.
629
00:47:15,720 --> 00:47:18,920
But Huston flatly refused it
630
00:47:19,080 --> 00:47:21,560
because she was
too difficult according to him.
631
00:47:21,640 --> 00:47:26,160
So I closed the chapter of
my cinematographic activity.
632
00:47:26,800 --> 00:47:30,280
It was like a fate,
it was unfair too.
633
00:47:30,560 --> 00:47:34,280
I was called by
Dino De Laurentiis...
634
00:47:37,547 --> 00:47:40,427
to replace my master Petrassi.
635
00:47:45,323 --> 00:47:48,243
Music publishing
was a co-production,
636
00:47:48,600 --> 00:47:51,240
RCA and Dino De Laurentiis.
637
00:47:51,880 --> 00:47:55,240
Dino said to me: "Write a
piece on Creation".
638
00:47:55,440 --> 00:47:59,205
Huston listened, he loved and
I did the whole movie.
639
00:48:00,800 --> 00:48:03,480
I illustrated the creation of light.
640
00:48:03,551 --> 00:48:07,031
A trickle of water that
widened and grew.
641
00:48:07,120 --> 00:48:11,073
Then the flash of fire, the
animals, birds...
642
00:48:11,320 --> 00:48:14,791
All this dynamism...
and it started again.
643
00:48:18,000 --> 00:48:20,320
Mary went to a synagogue
644
00:48:20,400 --> 00:48:25,845
and brought back Hebrew texts
antiques that Ennio set to music.
645
00:48:26,680 --> 00:48:29,960
Huston came several times.
De Laurentiis came several times.
646
00:48:30,040 --> 00:48:32,080
They looked very happy.
647
00:48:32,680 --> 00:48:33,840
I had the job.
648
00:48:34,160 --> 00:48:38,160
De Laurentiis then told me:
“We don’t care about the CAR.
649
00:48:38,440 --> 00:48:40,280
"This film, you are going to make it with me."
650
00:48:40,480 --> 00:48:43,640
I said: "Sorry, but I signed
exclusivity with RCA,
651
00:48:43,960 --> 00:48:46,160
I can’t do that to them.”
652
00:48:46,400 --> 00:48:49,000
I went to the RCA and I
spoke with its president.
653
00:48:49,240 --> 00:48:53,240
I said, “It’s a big
opportunity for me, unique, rare.
654
00:48:53,869 --> 00:48:55,888
Let me do The Bible."
655
00:48:56,056 --> 00:49:00,048
"No, you can't,
You are under contract with us.”
656
00:49:00,516 --> 00:49:03,200
And of course, I didn't.
657
00:49:03,560 --> 00:49:05,800
Besides that, Petrassi is very clear.
658
00:49:05,880 --> 00:49:10,320
He affirms that writing for the cinema,
for commercial music,
659
00:49:10,480 --> 00:49:14,080
equivalent for a classical musician,
to prostitution.
660
00:49:14,440 --> 00:49:16,480
That it is morally wrong.
661
00:49:16,782 --> 00:49:17,862
Guilty.
662
00:49:19,000 --> 00:49:20,080
Guilty.
663
00:49:20,200 --> 00:49:22,480
At first I felt guilty,
664
00:49:22,600 --> 00:49:25,200
but I changed my mind little by little.
665
00:49:25,400 --> 00:49:28,840
While composing, I was seeking revenge.
666
00:49:31,065 --> 00:49:33,008
To conquer...
667
00:49:34,560 --> 00:49:35,960
this...
668
00:49:38,760 --> 00:49:40,474
guilt.
669
00:50:14,595 --> 00:50:18,289
{\an8}I heard Ennio for the first time
times in "The Battle of Algiers".
670
00:50:18,430 --> 00:50:26,101
{\an8}I was struck by how the
music created a world off the screen.
671
00:50:26,769 --> 00:50:29,800
Gillo Pontecorvo
asked to meet me.
672
00:50:30,160 --> 00:50:33,360
Such an important director,
I didn't expect it.
673
00:50:33,654 --> 00:50:38,094
I was intimidated because I saw
although he was not like the others.
674
00:50:39,040 --> 00:50:41,227
He was already very strong.
675
00:50:46,024 --> 00:50:47,922
I wrote this piece:
676
00:50:50,836 --> 00:50:55,578
A variation on a
theme of Frescobaldi.
677
00:51:03,848 --> 00:51:07,240
With these 3 notes: A,
B flat and B natural.
678
00:51:07,320 --> 00:51:10,691
And then the opposite movement:
F sharp, F natural, E.
679
00:51:10,880 --> 00:51:12,200
We found all my training.
680
00:51:12,560 --> 00:51:17,755
I am made of all
music that I studied.
681
00:51:18,200 --> 00:51:20,567
A little further to the left.
682
00:51:21,863 --> 00:51:26,714
Pasolini had the record list
that I had to integrate into the film.
683
00:51:27,284 --> 00:51:32,682
Pasolini told him: “Here, we must
put on this Bach piece."
684
00:51:32,942 --> 00:51:36,782
I told him: “Sorry, but I am
a composer who writes music,
685
00:51:37,752 --> 00:51:41,432
I don't use music
others to put it in the film.
686
00:51:41,520 --> 00:51:44,230
This is not possible, I must refuse."
687
00:51:44,800 --> 00:51:50,175
And he said to me:
“Then do as you wish.”
688
00:51:59,120 --> 00:52:00,960
I wrote this nursery rhyme,
689
00:52:01,520 --> 00:52:04,229
between seriousness and humor.
690
00:52:12,320 --> 00:52:14,840
It was a bit: “Set to music
by Ennio Morricone.
691
00:52:15,000 --> 00:52:18,400
I was singing, well, so to speak.
692
00:52:18,600 --> 00:52:20,593
It was a joke.
693
00:52:28,600 --> 00:52:32,360
Until then, Pasolini had not had
as a musician as Bach.
694
00:52:32,800 --> 00:52:34,360
And then he moved on to Morricone.
695
00:52:39,248 --> 00:52:43,152
{\an8}As a teenager, I saw "The good one,
The Bad and the Ugly” at the cinema.
696
00:52:43,223 --> 00:52:47,011
{\an8}There, I understood that it was something else.
697
00:52:47,410 --> 00:52:50,574
{\an8}Music never
heard before.
698
00:52:50,949 --> 00:52:55,941
{\an8}For the first time I wondered who
was the man behind this music.
699
00:52:59,120 --> 00:53:01,240
The music of the first
film by Sergio Leone,
700
00:53:01,480 --> 00:53:03,840
seemed below me
of my possibilities,
701
00:53:04,031 --> 00:53:06,791
because I had to follow
Sergio's vision.
702
00:53:06,853 --> 00:53:14,306
I wrote him the theme which was
the coyote verse at the time.
703
00:53:17,320 --> 00:53:18,560
I saw...
704
00:53:20,494 --> 00:53:24,306
It's both dramatic and funny,
he loved it.
705
00:53:49,531 --> 00:53:52,210
{\an8}This guy knows the guitar.
706
00:53:52,281 --> 00:53:54,632
{\an8}He uses it to the best of his ability.
707
00:54:07,000 --> 00:54:10,875
{\an8}It was the most creative music
that I heard in the cinema.
708
00:54:10,907 --> 00:54:15,914
{\an8}The only time I rushed
buy the disc after the screening.
709
00:54:21,334 --> 00:54:24,264
{\an8}I grew up listening
"L'estasi dell'oro",
710
00:54:24,342 --> 00:54:28,311
{\an8}where Eli Wallach runs through the cemetery
in pursuit of Arch Stanton.
711
00:54:33,756 --> 00:54:37,099
Let's focus on the
character of Ennio Morricone.
712
00:54:37,240 --> 00:54:42,080
Ennio, you realize that
your case is more unique than rare.
713
00:54:42,175 --> 00:54:47,034
In 2 years you have released 2 best sellers,
2 soundtrack discs
714
00:54:47,160 --> 00:54:49,840
who have become
incredible successes.
715
00:54:49,896 --> 00:54:53,036
- A stroke of luck.
- I would rather say that you are good.
716
00:54:53,122 --> 00:54:56,145
I played the spy,
bribing the projectionist,
717
00:54:56,280 --> 00:54:59,920
I went to Cubista
to look at his scores.
718
00:55:00,000 --> 00:55:06,640
And I realized he's an artist
who never sought success.
719
00:55:06,800 --> 00:55:08,640
This is Maestro Morricone.
720
00:55:08,760 --> 00:55:11,280
His face may be unknown to you
but not his name.
721
00:55:11,400 --> 00:55:13,880
Morricone specialized
in western music.
722
00:55:14,120 --> 00:55:18,200
Of course, at that time,
all the westerns happened to me
723
00:55:18,367 --> 00:55:22,156
and I did them all because
it was my destiny at that time.
724
00:55:28,214 --> 00:55:31,729
It was funny with Ennio,
you make a film, you show him.
725
00:55:31,802 --> 00:55:35,682
The first time he sees
the film, he falls asleep.
726
00:55:38,301 --> 00:55:41,880
He falls asleep like the
gunslingers of the West,
727
00:55:41,928 --> 00:55:46,464
we think they are sleeping but
They shot you before you.
728
00:55:49,880 --> 00:55:52,240
Casually, he had analyzed everything.
729
00:55:52,360 --> 00:55:55,320
The remarks he made
were already judicious.
730
00:56:02,840 --> 00:56:05,080
“The Great Silence” by Sergio Corbucci
731
00:56:05,160 --> 00:56:07,560
takes place entirely under the snow.
732
00:56:07,708 --> 00:56:10,349
Horses galloping
made no noise.
733
00:56:10,426 --> 00:56:13,170
The hero was silent.
734
00:56:15,080 --> 00:56:16,520
Corbucci told me:
735
00:56:16,640 --> 00:56:18,560
"It's the most beautiful music that
you wrote for me."
736
00:56:18,909 --> 00:56:22,327
I said: “Thank you Sergio,
It’s because we hear it.”
737
00:56:26,120 --> 00:56:29,760
At the cinema, mix sounds
without balance,
738
00:56:29,852 --> 00:56:31,852
may harm the film and music.
739
00:56:32,280 --> 00:56:36,600
Music is an abstract element
which you might not add.
740
00:56:36,751 --> 00:56:41,671
But if we want music,
she must be free.
741
00:56:49,160 --> 00:56:53,520
At that time, I was trying to reduce
sound elements
742
00:56:53,600 --> 00:56:58,206
to communicate to the public
something memorable.
743
00:57:16,527 --> 00:57:20,767
For example, an idea came to me
when going to pay for gas.
744
00:57:20,867 --> 00:57:24,726
It was the song: "Se telefonando",
that Mina ordered me.
745
00:57:24,840 --> 00:57:28,476
It was the first time
that I used the 3 sounds.
746
00:57:28,720 --> 00:57:32,320
3 beats in a 4/4 measure.
747
00:57:32,532 --> 00:57:36,562
The tonic accent never fell
over the same time.
748
00:57:36,792 --> 00:57:40,872
This was a very important discovery
for tonal music,
749
00:57:41,040 --> 00:57:46,417
since she became
suddenly more accessible.
750
00:58:09,760 --> 00:58:12,198
Do you hear the other note?
751
00:58:16,480 --> 00:58:17,909
The 3 notes.
752
00:58:19,120 --> 00:58:22,393
It always falls there but in a way
different with each measurement.
753
00:58:30,939 --> 00:58:36,205
He could repeat an idea without
never make it heavy.
754
00:58:38,880 --> 00:58:42,160
I stuck to this economy of sounds
755
00:58:42,400 --> 00:58:46,372
because I always appreciated
to have a little fun.
756
00:58:55,857 --> 00:58:58,680
Ennio was at the piano and he said to me:
757
00:58:58,880 --> 00:59:03,680
"I'm going to make you listen to the 2 themes
of the film that intertwine."
758
00:59:03,960 --> 00:59:07,440
Often I find myself writing
2 themes without realizing
759
00:59:07,600 --> 00:59:09,404
that there is a theme within the theme.
760
00:59:09,520 --> 00:59:13,076
This brings a variation, an obviousness.
761
00:59:15,581 --> 00:59:18,635
And he plays the 2 intertwined themes for me.
762
00:59:28,988 --> 00:59:32,878
I am not ashamed to say that
I didn't like this theme.
763
00:59:33,040 --> 00:59:35,040
I told the director
Peppino Patroni Griffi:
764
00:59:35,146 --> 00:59:37,773
“Don’t use it, trust me.”
765
00:59:37,920 --> 00:59:40,146
He said to me: “But you’re crazy!”
766
00:59:41,600 --> 00:59:44,717
The song “Metti, una sera
a cena", I thought it was great.
767
00:59:44,848 --> 00:59:46,427
This...
768
00:59:49,920 --> 00:59:54,040
Because this minimalism
completely serves the music.
769
00:59:54,296 --> 00:59:56,514
Peppino was right.
770
00:59:57,160 --> 01:00:00,800
Because I'm not
a good judge of what I write.
771
01:00:00,960 --> 01:00:04,413
So from there, I did
first listen to my wife
772
01:00:04,630 --> 01:00:06,718
all the themes I had just written.
773
01:00:06,760 --> 01:00:09,385
If he liked it, then I
made the director listen.
774
01:00:09,611 --> 01:00:12,504
The directors couldn't hear
what pleased my wife.
775
01:00:12,712 --> 01:00:15,472
In my memory, Ennio
did not work alone.
776
01:00:15,880 --> 01:00:17,462
It was Ennio AND Maria.
777
01:00:17,608 --> 01:00:22,448
This woman, at the same time
mother, wife, companion
778
01:00:22,561 --> 01:00:27,841
always looked after his talent
in an extraordinary way.
779
01:00:28,120 --> 01:00:31,840
Because it was abandonment.
That is to say that out of love,
780
01:00:31,960 --> 01:00:33,760
she was his first audience.
781
01:00:33,860 --> 01:00:38,908
Coming from a modest background,
his opinion has always been sincere.
782
01:00:39,200 --> 01:00:43,596
This is how I evolved
over the years.
783
01:00:57,160 --> 01:01:00,840
She had created a security perimeter
784
01:01:01,200 --> 01:01:05,425
in order to free the genius
by Ennio Morricone.
785
01:01:08,800 --> 01:01:14,560
I always wondered how
Ennio could make it coexist within him,
786
01:01:14,800 --> 01:01:18,720
the film musician and
the experimental musician.
787
01:01:22,640 --> 01:01:25,120
When I write for the cinema,
I am a composer.
788
01:01:25,280 --> 01:01:28,120
When I write for myself,
I am different.
789
01:01:28,400 --> 01:01:32,880
I then become a composer
almost opposite to myself.
790
01:01:33,000 --> 01:01:35,840
It can be said that I have
a dual personality.
791
01:01:36,082 --> 01:01:38,762
"Suoni per Dino",
written by Ennio Morricone,
792
01:01:38,960 --> 01:01:40,800
for Dino Asciolla and tape recorder,
793
01:01:41,040 --> 01:01:43,560
rendered to music
the author's thoughts
794
01:01:43,680 --> 01:01:46,960
on worrying issues
of today's society.
795
01:01:49,720 --> 01:01:55,520
He was asked how he could
write for spaghetti westerns
796
01:01:55,840 --> 01:01:58,960
and be at the same time a
experimental musician.
797
01:01:59,118 --> 01:02:02,493
He never gave up
experimental music,
798
01:02:02,618 --> 01:02:05,378
on the contrary, he integrated it
in film music.
799
01:02:07,880 --> 01:02:11,480
When Elio Petri met me
for the first time he said to me:
800
01:02:11,560 --> 01:02:14,400
"I only work one
times with the composers,"
801
01:02:14,600 --> 01:02:18,185
so you know it will be
the only film we will make together."
802
01:02:25,400 --> 01:02:27,267
I made very difficult music,
803
01:02:27,400 --> 01:02:31,440
but the character crossed
an existential crisis
804
01:02:31,680 --> 01:02:34,920
and I decided to work
with the improvisation ensemble
805
01:02:35,144 --> 01:02:37,781
"New consonance",
who I played with.
806
01:02:38,318 --> 01:02:42,278
I used my piece for 11 violins,
807
01:02:42,520 --> 01:02:46,623
to which I added
percussion and a woman's voice.
808
01:02:59,800 --> 01:03:06,560
We improvised in front of the film
phase with the dreams of the mad painter,
809
01:03:06,720 --> 01:03:10,480
The colors that spilled,
the tables that fell,
810
01:03:10,547 --> 01:03:13,906
in a way,
music replaced noises.
811
01:03:31,200 --> 01:03:34,280
Reviews of the film were
excellent, music too,
812
01:03:34,407 --> 01:03:37,159
but the film didn't work at all.
813
01:03:37,291 --> 01:03:41,845
I felt
responsible for this failure.
814
01:03:49,240 --> 01:03:55,130
I saw a concert in Florence,
a technician came on stage,
815
01:03:55,360 --> 01:03:58,120
he took a ladder and waved it.
816
01:03:58,360 --> 01:04:00,867
The dry wood made...
817
01:04:06,501 --> 01:04:09,498
{\an8}(Once upon a time in the West)
818
01:04:11,080 --> 01:04:16,600
After 10 minutes, he
left, the concert was over.
819
01:04:20,120 --> 01:04:22,240
I told Sergio...
820
01:04:23,640 --> 01:04:25,680
and Sergio understood.
821
01:04:35,045 --> 01:04:37,819
The first 20 minutes of
“Once upon a time in the West”
822
01:04:37,889 --> 01:04:39,823
It’s musique concrete.
823
01:04:45,800 --> 01:04:52,280
This is the result of what I
told him about Florence.
824
01:05:01,311 --> 01:05:05,335
In a way,
the noises became music.
825
01:05:22,000 --> 01:05:25,240
The character expresses himself more
by the harmonica than by speech.
826
01:05:26,000 --> 01:05:28,015
So that’s his voice.
827
01:05:31,560 --> 01:05:36,080
By entrusting this voice to Ennio,
Sergio completely gave himself up.
828
01:05:36,160 --> 01:05:39,640
It is no coincidence that my father did not
never worked with another musician.
829
01:05:48,344 --> 01:05:54,359
{\an8}Morricone is very good at creating
a character with music.
830
01:06:06,975 --> 01:06:11,135
It's music
extremely attractive.
831
01:06:11,680 --> 01:06:14,203
It's music that...
832
01:06:15,024 --> 01:06:17,090
who charms you, who envelops you,
833
01:06:17,487 --> 01:06:19,767
that sticks in your mind.
834
01:06:39,666 --> 01:06:43,120
I was given the score, I have it
I read it and sang it straight away.
835
01:06:43,280 --> 01:06:44,920
Without having repeated it.
836
01:06:45,120 --> 01:06:47,245
I heard this sublime melody.
837
01:06:47,395 --> 01:06:51,755
Music that accompanied
all our lives.
838
01:06:52,352 --> 01:06:56,137
She is part of
our daily life.
839
01:07:16,480 --> 01:07:20,200
Voices, sounds, noises,
840
01:07:20,321 --> 01:07:23,895
the colors, the stamps,
short sentences.
841
01:07:24,040 --> 01:07:25,680
Ennio used them as such.
842
01:07:25,920 --> 01:07:29,728
The notes are like
building material for a palace.
843
01:07:30,240 --> 01:07:32,880
The bricks are the same
for all palates,
844
01:07:33,135 --> 01:07:35,250
but all the palaces
don't look alike.
845
01:07:35,400 --> 01:07:39,325
These are the bricks with which
he builds his cathedrals.
846
01:07:54,632 --> 01:07:59,512
I didn't want to be pigeonholed
as a composer of westerns.
847
01:08:01,728 --> 01:08:05,928
Lattuada encouraged me to do
absolute symphonic music.
848
01:08:06,160 --> 01:08:10,456
There are separate violin parts,
then the strings but especially the violins.
849
01:08:10,600 --> 01:08:13,722
And I dared to play music
truly symphonic.
850
01:08:25,792 --> 01:08:30,651
But in fact it was not
my most difficult piece.
851
01:08:44,920 --> 01:08:49,365
The theme of the “Clan of the Sicilians”
was a huge effort.
852
01:09:11,400 --> 01:09:14,544
There is the first exhibition
of the main theme,
853
01:09:23,674 --> 01:09:28,229
to which I add
counterpoint, the name of Bach.
854
01:09:28,560 --> 01:09:36,320
B for B flat, A for A,
C for C, H for B natural.
855
01:09:36,948 --> 01:09:38,148
What forms B.A.C.H.
856
01:09:38,841 --> 01:09:42,320
He made a counterpoint
that he managed to assemble,
857
01:09:42,400 --> 01:09:45,000
each individual voice,
drums, double bass
858
01:09:45,080 --> 01:09:46,920
and all the instruments that
enter gradually.
859
01:09:47,080 --> 01:09:49,760
Si, La, Do, Si.
860
01:09:49,920 --> 01:09:52,680
Bach's name and I changed the order.
861
01:09:52,763 --> 01:09:56,923
La, Do, Si, Si, La.
862
01:09:57,247 --> 01:09:58,786
And behind...
863
01:10:09,514 --> 01:10:11,720
More of a little curiosity.
864
01:10:11,745 --> 01:10:15,777
On the theme of Bach,
there is a Sicilian theme.
865
01:10:34,320 --> 01:10:36,640
At first glance, it seems simple...
866
01:10:36,760 --> 01:10:39,480
but there is a
immense knowledge.
867
01:10:39,600 --> 01:10:45,240
All the composers were
fascinated by this B A C H,
868
01:10:46,080 --> 01:10:48,540
But that doesn't matter.
869
01:10:49,240 --> 01:10:51,640
From now on, the notes are not
more important.
870
01:10:51,753 --> 01:10:55,033
What matters is this
what the composer does.
871
01:11:10,960 --> 01:11:12,800
The names, the names!
872
01:11:13,400 --> 01:11:17,960
I had already put together the music for
“Cannibals” by Liliana Cavani.
873
01:11:18,160 --> 01:11:21,480
In the same studio,
Gillo rode "Queimada",
874
01:11:21,600 --> 01:11:25,200
And he hears a chorus in the distance.
875
01:11:28,847 --> 01:11:32,967
In the absence of Liliana Cavani,
he went to his editing table
876
01:11:33,080 --> 01:11:36,640
and took the tape of this choir.
877
01:11:36,880 --> 01:11:41,762
He put it on the beach stage
and it fit perfectly.
878
01:11:56,800 --> 01:11:59,800
This music in contact with this film
879
01:11:59,960 --> 01:12:02,400
appeared to me as
a secular hymn to freedom.
880
01:12:02,515 --> 01:12:04,280
We both had a falling out.
881
01:12:04,400 --> 01:12:07,720
He claimed it was
me who had removed this choir
882
01:12:07,840 --> 01:12:09,267
to integrate it into “Queimada”.
883
01:12:09,440 --> 01:12:12,806
Finally he asked me to write
similar music.
884
01:12:28,040 --> 01:12:31,080
When I saw Pontecorvo's film,
885
01:12:31,200 --> 01:12:33,440
I realized it was the same
theme as "Cannibals".
886
01:12:33,720 --> 01:12:37,188
There is clearly a resemblance
but the music is different.
887
01:12:47,999 --> 01:12:49,983
I was caught between two fires.
888
01:13:11,496 --> 01:13:16,106
{\an8}I remember him asking me:
“Would you like to improvise on Abolison?”
889
01:13:16,177 --> 01:13:18,598
{\an8}At the boot, just before the concert.
890
01:13:21,075 --> 01:13:22,825
{\an8}But of course!
891
01:13:30,870 --> 01:13:35,244
{\an8}I think the female voice is
very important in Ennio's music.
892
01:13:35,323 --> 01:13:40,075
{\an8}Putting a woman forward
how...radical.
893
01:13:46,880 --> 01:13:50,360
The human voice is so magical,
894
01:13:50,600 --> 01:13:52,240
because it leaves our body,
895
01:13:52,360 --> 01:13:54,520
no need for any other instrument.
896
01:14:18,600 --> 01:14:21,513
At the end of the 60s,
Ennio Morricone became
897
01:14:21,638 --> 01:14:24,480
a guarantee for
producers and directors.
898
01:14:24,840 --> 01:14:31,310
For the year 1969 alone, were released
21 films for which he did the music.
899
01:14:35,560 --> 01:14:39,800
The enormous success of Ennio
made people envious.
900
01:14:40,120 --> 01:14:44,073
Not only were they jealous,
but they also copied it.
901
01:14:44,320 --> 01:14:46,400
Jealousy can become slander.
902
01:14:46,640 --> 01:14:49,880
“18 films in one year?
But that’s impossible!”
903
01:14:50,000 --> 01:14:52,280
“You weren’t the one who did everything!”
904
01:14:52,728 --> 01:14:54,240
He sat like this...
905
01:14:54,400 --> 01:14:58,071
He looked like he was writing a letter
because he wrote very quickly.
906
01:14:58,360 --> 01:15:02,120
His mind was so clear
when he imagined music.
907
01:15:02,320 --> 01:15:04,520
Everything was clear, simple.
908
01:15:04,760 --> 01:15:06,800
How much music did he write?
909
01:15:06,960 --> 01:15:08,880
How much music have you written?
910
01:15:09,127 --> 01:15:11,287
I didn't count them.
911
01:15:11,400 --> 01:15:13,673
He did not count them.
912
01:15:13,993 --> 01:15:18,298
{\an8}In Ennio's life, each stage
is a new chapter,
913
01:15:18,377 --> 01:15:22,150
{\an8}towards more knowledge, research and
musical experiments.
914
01:15:22,555 --> 01:15:26,315
I was sure I would no longer
never work with Elio Petri.
915
01:15:26,760 --> 01:15:30,306
But he asked me to
make all his future films.
916
01:15:36,080 --> 01:15:39,484
For “The Investigation”, I had
wrote this little arpeggio.
917
01:15:49,605 --> 01:15:55,546
During mixing, Elio asked me
shown the whole first part.
918
01:16:02,634 --> 01:16:07,298
I told him:
“But Elio, what is this thing?”
919
01:16:12,131 --> 01:16:14,568
He had changed the music.
920
01:16:14,800 --> 01:16:17,503
He had put on the music
from a horrible movie
921
01:16:17,628 --> 01:16:20,862
that I had done years ago.
922
01:16:25,520 --> 01:16:27,760
Elio told me: “She’s fantastic!
923
01:16:28,129 --> 01:16:30,800
Look at Florida Bolkan
who is going to be murdered!
924
01:16:30,920 --> 01:16:32,793
Look how the choir works!”
925
01:16:37,072 --> 01:16:40,352
Ruggero Mastroianni the editor,
was to my left.
926
01:16:40,559 --> 01:16:43,127
"Ennio, but you don't see
How extraordinary is she?”
927
01:16:43,198 --> 01:16:44,678
Elio added more.
928
01:16:44,834 --> 01:16:48,434
And I say, “Sorry, but what
Who do you like in this scene?
929
01:16:48,720 --> 01:16:50,391
I don't understand."
930
01:16:53,200 --> 01:16:55,840
But I resisted less and less.
931
01:16:56,000 --> 01:16:58,567
At the end I told him:
“Do as you wish.”
932
01:17:00,712 --> 01:17:02,488
The light came on,
933
01:17:02,960 --> 01:17:06,600
Elio said something that stuck with me,
934
01:17:07,703 --> 01:17:11,423
"You made the best music that
I could imagine.
935
01:17:13,160 --> 01:17:15,469
You should slap me.”
936
01:17:19,835 --> 01:17:23,702
{\an8}"Investigation of a citizen
above all suspicion"
937
01:17:38,960 --> 01:17:41,540
A brilliant invention that synthesizes
938
01:17:41,760 --> 01:17:44,436
everything Ennio had done so far.
939
01:17:44,560 --> 01:17:48,040
He manages to project it into what will be
940
01:17:48,105 --> 01:17:51,332
the music of “Investigation of a Citizen”.
941
01:17:58,040 --> 01:18:00,040
“Investigation” truly traumatized me.
942
01:18:00,073 --> 01:18:03,593
I realized he was
possible even for Morricone,
943
01:18:03,760 --> 01:18:07,120
to write music radically
different from its previous production.
944
01:18:10,979 --> 01:18:13,792
I don't remember
music than film.
945
01:18:13,960 --> 01:18:17,361
In some cases, the music
is the driving force of the film.
946
01:18:25,120 --> 01:18:29,280
He invented a musical format
which is cinema music.
947
01:18:29,400 --> 01:18:32,962
He may even be the inventor
cinema music.
948
01:18:36,480 --> 01:18:38,985
How are you going to kill me this time?
949
01:18:39,560 --> 01:18:42,565
I'm going to slit your throat.
950
01:18:46,200 --> 01:18:50,778
This music pleased Kubrick
who called me for “A Clockwork Orange”.
951
01:18:51,582 --> 01:18:56,102
He loved this music so much that he
wanted me to make an imitation of it.
952
01:18:59,714 --> 01:19:02,074
We agreed on everything,
953
01:19:02,219 --> 01:19:04,899
But Kubrick called Leone...
954
01:19:05,257 --> 01:19:08,081
Sergio told him that I was
not free, that I had work.
955
01:19:08,218 --> 01:19:11,749
{\an8}With Ennio Morricone, we were
working
956
01:19:11,843 --> 01:19:14,710
{\an8}on my next film:
“Once upon a time there was a revolution.”
957
01:19:14,794 --> 01:19:17,994
But it was wrong, I was already in the process
to mix "Once upon a time..."
958
01:19:18,223 --> 01:19:19,383
The music was over.
959
01:19:19,480 --> 01:19:23,040
Kubrick abandoned me
without even calling me.
960
01:19:23,288 --> 01:19:26,248
It's the only regret I have
of a film that I didn't make.
961
01:19:26,378 --> 01:19:30,218
1...2...1...2...3....4
962
01:19:33,309 --> 01:19:36,309
I had dreamed of Morricone's theme.
963
01:19:36,640 --> 01:19:37,960
Fantastic, mamma mia!
964
01:19:38,600 --> 01:19:42,496
But in the studio, there were 4 themes.
965
01:19:44,360 --> 01:19:47,520
He plays them in a loop.
966
01:19:48,247 --> 01:19:51,047
It gives directions and
he records.
967
01:19:56,720 --> 01:19:59,480
Ennio had developed
these complex scores
968
01:19:59,680 --> 01:20:02,440
that he was experimenting
in certain thrillers.
969
01:20:07,720 --> 01:20:10,600
He looked at me furiously:
970
01:20:10,960 --> 01:20:12,520
“What is this?”
971
01:20:12,659 --> 01:20:16,920
"These are a few records of which
maybe we could get some inspiration..."
972
01:20:17,000 --> 01:20:18,698
“Throw me those records.”
973
01:20:18,800 --> 01:20:20,440
Courage, open!
974
01:20:22,600 --> 01:20:25,920
I experienced for the first time,
a new type of writing.
975
01:20:26,203 --> 01:20:30,398
He wrote the score in
gluing strips of paper.
976
01:20:34,735 --> 01:20:39,255
The musicians improvised
on the plot that Ennio had given,
977
01:20:39,320 --> 01:20:41,790
who played the trumpet himself...
978
01:20:45,615 --> 01:20:49,273
Depending on what
was happening in the scene,
979
01:20:49,440 --> 01:20:52,800
he indicated the number
playing paper
980
01:20:53,040 --> 01:20:55,080
to this or that musician.
981
01:20:55,240 --> 01:20:57,760
I launched such a musician,
then I moved on to the other.
982
01:20:57,868 --> 01:21:00,200
They always had to look at me
with their instruments ready
983
01:21:00,271 --> 01:21:03,368
to attack, because there is no
nothing predictable or scripted.
984
01:21:03,640 --> 01:21:06,320
So much so that when a passage
pleased a director,
985
01:21:07,080 --> 01:21:09,560
I couldn't figure it out
redo identically.
986
01:21:09,960 --> 01:21:14,560
All this allowed me to do
unexpected things at the cinema.
987
01:21:29,272 --> 01:21:31,792
After the third film,
Salvatore, Dario's father,
988
01:21:31,960 --> 01:21:34,440
said to me: "All your music
look alike."
989
01:21:34,640 --> 01:21:36,800
“That’s three films with the same music.”
990
01:21:36,960 --> 01:21:38,000
It wasn't true.
991
01:21:38,041 --> 01:21:41,001
Ennio defended himself:
“No, I don’t make the same music.”
992
01:21:41,209 --> 01:21:42,783
They appear to look similar.
993
01:21:42,880 --> 01:21:49,200
Because dissonant music
completely disorienting.
994
01:21:50,200 --> 01:21:53,520
{\an5}I took this idea
in other films.
995
01:21:53,655 --> 01:21:56,775
{\an5}I actually made 23 versions of it.
996
01:21:57,000 --> 01:22:00,760
And maybe at some point,
he exaggerated a little.
997
01:22:01,040 --> 01:22:04,400
He started to get refusals,
a first warning.
998
01:22:04,498 --> 01:22:08,187
"Ennio, if you continue on this path,
We’re not calling you anymore.”
999
01:22:08,680 --> 01:22:11,273
It's obvious that I've changed
my way of writing.
1000
01:22:23,936 --> 01:22:26,357
Morricone was already a myth.
1001
01:22:26,440 --> 01:22:29,513
Joan Baez was one of the
new big figures
1002
01:22:29,615 --> 01:22:31,599
of American youth.
1003
01:22:31,681 --> 01:22:33,921
Ennio spoke English, more or less
1004
01:22:34,200 --> 01:22:36,600
and Joan Baez spoke Italian,
more or less...
1005
01:22:37,255 --> 01:22:40,775
but the music is
a universal language.
1006
01:22:47,954 --> 01:22:52,041
{\an8}I remember a
minimal recording.
1007
01:22:52,368 --> 01:22:56,501
{\an8}Just the notes and instruments
came later.
1008
01:22:56,743 --> 01:23:00,143
She sang on the drums and
a piano draft.
1009
01:23:00,352 --> 01:23:04,072
Then I superimposed
the orchestra on his voice.
1010
01:23:04,155 --> 01:23:05,320
She told me:
1011
01:23:05,440 --> 01:23:08,720
"My voice is not yet
recognized worldwide,
1012
01:23:08,840 --> 01:23:11,000
Ennio was able to write my singing part
1013
01:23:11,120 --> 01:23:14,920
to the maximum of my possibilities,
to my vocal limits."
1014
01:23:15,127 --> 01:23:17,806
She added: “It’s a miracle.”
1015
01:23:33,742 --> 01:23:40,078
{\an8}I had just finished my shots but
he still had one idea, it went like this:
1016
01:23:43,056 --> 01:23:45,329
{\an8}"Can you write some lyrics to that?"
1017
01:23:45,392 --> 01:23:46,813
{\an8}I said OK.
1018
01:24:07,048 --> 01:24:09,928
The song became
a phenomenal success,
1019
01:24:10,134 --> 01:24:12,805
Besides, we wonder
how again,
1020
01:24:12,914 --> 01:24:14,485
How is this possible?
1021
01:24:14,517 --> 01:24:19,216
{\an8}This song is more than popular,
it's an anthem.
1022
01:24:40,592 --> 01:24:43,072
May my melodies have been successful
1023
01:24:43,240 --> 01:24:48,760
does not mean that my position
against the melody being false.
1024
01:24:49,240 --> 01:24:52,720
I think the combinations
melodic songs are exhausted.
1025
01:24:53,160 --> 01:24:57,720
Ennio Morricone, by principle
doesn't like the melody, he said so.
1026
01:24:58,087 --> 01:25:02,607
But he is a musician who
a powerful melodic vein,
1027
01:25:02,929 --> 01:25:06,869
The more he wants to contain her,
the more forcefully it gushes out.
1028
01:25:09,445 --> 01:25:14,562
The melodies? When we write about
so beautiful, they cannot be despised.
1029
01:25:15,080 --> 01:25:16,480
He's lying.
1030
01:25:20,362 --> 01:25:23,042
But maybe,
in what we can call
1031
01:25:23,312 --> 01:25:26,597
in parentheses, the
schizophrenia of the composer,
1032
01:25:26,800 --> 01:25:31,280
he has a perception of it,
completely different.
1033
01:25:48,792 --> 01:25:52,809
Its rule is rigor
applied to creation,
1034
01:25:52,834 --> 01:25:55,994
the fact that he is a chess player
confirms this.
1035
01:25:56,407 --> 01:25:59,287
He evolves in a world
mathematics and geometry.
1036
01:25:59,480 --> 01:26:03,080
A quasi-approach
transcendental, spiritual.
1037
01:26:03,213 --> 01:26:06,079
{\an8}He has what few
musicians own.
1038
01:26:06,361 --> 01:26:10,814
{\an8}This instinct to know what
is perfect for this scene
1039
01:26:10,916 --> 01:26:14,798
{\an8}and at the same time as soon as we hear it,
we know it’s Ennio.
1040
01:26:22,272 --> 01:26:27,404
{\an8}How can we recognize
Morricone from the first note?
1041
01:26:29,786 --> 01:26:33,638
{\an8}He puts so much of himself into his music
1042
01:26:33,709 --> 01:26:36,576
{\an8}that from the simple attack of the strings,
1043
01:26:36,733 --> 01:26:41,434
{\an8}it's signed Ennio Morricone, this
can't be anyone else.
1044
01:26:43,318 --> 01:26:46,358
His musical pieces
the most powerful
1045
01:26:46,551 --> 01:26:49,692
are played in such an intense way
1046
01:26:50,040 --> 01:26:54,000
that their resolutions resemble
to an ecstasy for the public.
1047
01:26:54,320 --> 01:26:59,680
I myself had to give up
to analytical listening
1048
01:27:00,240 --> 01:27:03,398
to simply abandon myself.
1049
01:27:16,960 --> 01:27:21,360
He manages to make me believe that he has
writes the music for me, in secret.
1050
01:27:21,412 --> 01:27:24,575
{\an8}Why the public remembers
Morricone's music?
1051
01:27:24,677 --> 01:27:28,059
{\an8}Because at first listen,
we cannot forget it.
1052
01:27:28,388 --> 01:27:32,177
{\an8}It's music that grabs you and
never let go again.
1053
01:27:44,944 --> 01:27:48,184
I always have music in mind,
something I need to write.
1054
01:27:48,320 --> 01:27:50,840
An idea that seems to me
interesting or important.
1055
01:27:50,936 --> 01:27:54,496
I am therefore often taciturn,
a little "silent" elsewhere.
1056
01:27:54,760 --> 01:27:57,720
It's a person
extremely shy
1057
01:27:57,943 --> 01:28:00,623
and an abysmal determination.
1058
01:28:00,840 --> 01:28:03,320
So, talk about music with him
1059
01:28:03,535 --> 01:28:06,695
amounts to addressing
to its inner abyss.
1060
01:28:12,551 --> 01:28:17,230
He thinks his music is not
never in the service of the image.
1061
01:28:17,400 --> 01:28:20,160
In fact Ennio says:
"I'm like a chameleon,
1062
01:28:20,440 --> 01:28:23,200
I change colors
function of my director,
1063
01:28:23,291 --> 01:28:25,891
but I'm still myself."
1064
01:28:26,368 --> 01:28:30,252
I think he was always looking
to understand its director
1065
01:28:30,338 --> 01:28:32,960
and to grasp its deep soul.
1066
01:28:33,137 --> 01:28:36,937
In this sense Ennio has always
been a fine psychologist,
1067
01:28:37,360 --> 01:28:40,640
able to juggle between
complex personalities
1068
01:28:40,753 --> 01:28:44,073
and sometimes even disturbed,
truly a fine psychologist.
1069
01:28:47,087 --> 01:28:50,055
{\an8}With Pasolini and the
other directors,
1070
01:28:50,180 --> 01:28:52,980
{\an8}he always found
a way of expression.
1071
01:28:53,127 --> 01:28:55,176
{\an8}It's a real encyclopedia.
1072
01:28:55,200 --> 01:28:57,400
Let's imagine 10 great musicians
1073
01:28:57,680 --> 01:28:59,800
consulted by the same director,
1074
01:28:59,991 --> 01:29:02,391
they write the music for the same film.
1075
01:29:02,640 --> 01:29:05,000
Well, every music will be
completely different.
1076
01:29:05,463 --> 01:29:08,103
The dramatic character
of this reasoning
1077
01:29:08,195 --> 01:29:10,947
shows that it is difficult
to compose for the cinema.
1078
01:29:11,120 --> 01:29:13,736
Because if all
options are possible,
1079
01:29:13,880 --> 01:29:16,160
then it is difficult
for the composer to say:
1080
01:29:16,280 --> 01:29:18,680
"This is the best music,
most appropriate!”
1081
01:29:18,920 --> 01:29:22,680
This is the composer's torment.
1082
01:29:29,280 --> 01:29:32,960
For “Allonsanfàn” we told him:
“Ennio, here is the final ballet.
1083
01:29:33,080 --> 01:29:35,200
We must be transported by the music."
1084
01:29:35,400 --> 01:29:38,000
He wrote this accompaniment...
1085
01:29:43,000 --> 01:29:44,680
...which we loved.
1086
01:29:48,720 --> 01:29:51,600
So for us it was
ballet music.
1087
01:29:52,600 --> 01:29:54,800
They shot with this rhythm.
1088
01:29:55,000 --> 01:29:56,240
At one point during editing,
1089
01:29:56,360 --> 01:29:58,320
we could no longer
move forward without music.
1090
01:29:58,440 --> 01:30:00,720
We assembled
very disparate music,
1091
01:30:00,840 --> 01:30:03,520
musicians in contradiction
with each other.
1092
01:30:03,600 --> 01:30:07,400
Ennio came to the edit and said:
“It’s very beautiful.
1093
01:30:07,600 --> 01:30:09,640
What am I doing here?"
1094
01:30:09,840 --> 01:30:10,800
And he left.
1095
01:30:10,874 --> 01:30:13,234
Imitate the music of others.
1096
01:30:13,600 --> 01:30:16,960
I liked to think for myself.
1097
01:30:17,080 --> 01:30:18,360
The opposite was unbearable to me.
1098
01:30:18,520 --> 01:30:20,880
We rush down the stairs at full speed.
1099
01:30:21,120 --> 01:30:22,880
“No, I have to.”
1100
01:30:23,000 --> 01:30:24,600
“I don’t, I don’t.”
1101
01:30:24,720 --> 01:30:28,409
In the end, I ended up accepting,
but I insisted on composing the music.
1102
01:30:37,560 --> 01:30:41,000
While we
recorded the final ballet,
1103
01:30:41,120 --> 01:30:43,320
Ennio said: "I have you
prepared the melody."
1104
01:30:43,440 --> 01:30:44,400
“No!
1105
01:30:45,560 --> 01:30:48,920
We don't want a melody,
That’s fine Ennio.”
1106
01:30:50,000 --> 01:30:50,960
“Listen.”
1107
01:30:55,520 --> 01:30:58,160
We jumped on him
it was so magnificent.
1108
01:31:04,720 --> 01:31:07,000
The director controls everything:
the scenario,
1109
01:31:07,184 --> 01:31:12,224
the sets, the costumes, the
declamation, the lights, the framing.
1110
01:31:12,360 --> 01:31:13,720
But the music, no.
1111
01:31:24,891 --> 01:31:29,884
He would sit down at the piano and
sang the melody.
1112
01:31:40,640 --> 01:31:44,120
A trickle of voices rather,
I don't have a pretty voice.
1113
01:31:44,400 --> 01:31:46,520
He made me listen to
piano pieces
1114
01:31:46,720 --> 01:31:47,760
which I didn't understand anything about.
1115
01:31:48,000 --> 01:31:51,640
The director could not have known
the instrumentation I was doing.
1116
01:31:51,765 --> 01:31:56,822
I didn't allow myself to doubt
what Morricone improvised on the piano,
1117
01:31:56,960 --> 01:32:01,000
I knew there would be
the winds there, the strings here.
1118
01:32:01,240 --> 01:32:06,800
We cannot describe the
final result to the director.
1119
01:32:07,040 --> 01:32:09,800
Music cannot be told,
you have to listen to it.
1120
01:32:25,920 --> 01:32:29,680
Certain films made me
immediately inspired
1121
01:32:29,840 --> 01:32:33,021
precise, very specific music.
1122
01:32:47,521 --> 01:32:49,201
{\an8}It concerns us all.
1123
01:32:49,480 --> 01:32:53,480
During the first screening in 1900,
1124
01:32:54,120 --> 01:32:56,320
Ennio suddenly started
to write the theme.
1125
01:32:56,640 --> 01:33:01,126
I noted on a piece of
paper, in the dark.
1126
01:33:06,360 --> 01:33:07,825
I wrote this.
1127
01:33:45,200 --> 01:33:50,200
It's like he made a movie
parallel to the music.
1128
01:34:01,400 --> 01:34:05,080
Ennio is truly evolving
in music.
1129
01:34:05,400 --> 01:34:07,920
There's nothing he can't give you.
1130
01:34:08,597 --> 01:34:10,917
If during recording,
you ask him:
1131
01:34:11,164 --> 01:34:15,745
"You can do it to me
like Verdi would do?"
1132
01:34:16,071 --> 01:34:18,991
Then his talent immediately burst forth.
1133
01:34:21,125 --> 01:34:26,205
Right away, he asks you:
"Like Verdi, okay. Which opera?"
1134
01:34:26,640 --> 01:34:27,680
No opera.
1135
01:34:29,280 --> 01:34:30,452
It's Ennio.
1136
01:34:40,800 --> 01:34:43,960
1900 had atrocious reviews.
1137
01:34:44,608 --> 01:34:47,448
And someone has a lot
criticized the music.
1138
01:34:47,760 --> 01:34:49,680
Zurlini called me and said:
1139
01:34:49,800 --> 01:34:51,720
"I'm writing an article to defend you."
1140
01:34:51,960 --> 01:34:54,342
A very nice gesture on his part.
1141
01:35:01,683 --> 01:35:04,971
"The Tartar Desert"
1142
01:35:11,240 --> 01:35:14,840
The Tartars are the
lost dreams of youth.
1143
01:35:15,000 --> 01:35:20,280
Zurlini wanted to hear the music,
I sat down at the piano and played:
1144
01:35:28,640 --> 01:35:31,882
And he said to me:
“It’s okay, it’s perfect.”
1145
01:35:33,080 --> 01:35:36,080
Incredible, without even
know the end of the theme,
1146
01:35:36,200 --> 01:35:38,960
even less the orchestration,
nothing actually.
1147
01:35:39,108 --> 01:35:43,272
But when a director
trusts, he trusts you.
1148
01:36:03,807 --> 01:36:04,767
Goodbye, Tronk.
1149
01:36:04,851 --> 01:36:07,440
I found the part
with the 5 bugles
1150
01:36:07,509 --> 01:36:11,140
which made one think of
an army that was going to arrive
1151
01:36:11,226 --> 01:36:13,867
but that didn't happen.
1152
01:36:23,779 --> 01:36:26,259
The last time
I played the trumpet
1153
01:36:26,403 --> 01:36:29,443
was for Gillo's wedding
Pontecorvo, Place du Capitole.
1154
01:36:29,625 --> 01:36:32,265
He asked me to
play the Wedding March.
1155
01:36:32,680 --> 01:36:35,320
I took the trumpet even though
I lacked practice
1156
01:36:36,120 --> 01:36:37,422
and I played:
1157
01:36:40,600 --> 01:36:43,100
On the trumpet, he was very happy.
1158
01:36:57,549 --> 01:37:00,489
{\an8}"The harvests of heaven"
Terrence Malick
1159
01:37:00,840 --> 01:37:03,920
For me, Terrence Malick
was a very important director.
1160
01:37:04,200 --> 01:37:10,080
I went to see the film and back
in Italy, I wrote down 18 ideas.
1161
01:37:17,554 --> 01:37:19,624
{\an8}Ennio was playing chess with me.
1162
01:37:19,687 --> 01:37:21,647
{\an8}We were at the studio
1163
01:37:21,749 --> 01:37:24,827
{\an8}and I saw him doing his big
gestures while he directed.
1164
01:37:24,898 --> 01:37:27,569
{\an8}I was sitting in front of the chessboard
in the control room,
1165
01:37:27,624 --> 01:37:32,545
{\an8}and he managed to beat me then
that he didn't see the game.
1166
01:37:37,650 --> 01:37:39,810
After watching the film,
1167
01:37:39,899 --> 01:37:43,318
he asked me to write a
important piece for me.
1168
01:37:43,546 --> 01:37:46,986
It was a kind of symphony of fire.
1169
01:38:01,680 --> 01:38:06,120
I've never had a relationship
epistolary as intense as with him.
1170
01:38:16,415 --> 01:38:20,446
{\an8}I sincerely believe that the
21st century cinema music
1171
01:38:20,532 --> 01:38:23,297
{\an8}would have been very different
without the work of Ennio.
1172
01:38:23,446 --> 01:38:27,385
{\an8}Before there was the band
original with large orchestra
1173
01:38:27,424 --> 01:38:29,392
{\an8}and B movies.
1174
01:38:29,448 --> 01:38:32,228
{\an8}He was the one who mixed the 2
1175
01:38:32,307 --> 01:38:34,136
{\an8}and broke down gender barriers.
1176
01:38:34,160 --> 01:38:36,880
The movie musician
must know how to do everything,
1177
01:38:37,016 --> 01:38:39,449
from symphony to ditty.
1178
01:38:48,362 --> 01:38:50,362
Sergio Leone produced
the first films.
1179
01:38:50,720 --> 01:38:53,080
During the preparation of
“Un sacco bello” he told me:
1180
01:38:53,200 --> 01:38:55,856
"You should make a
something like “La Titina”,
1181
01:38:55,949 --> 01:38:58,869
something sweet,
from “Chaplinesque”.
1182
01:39:00,392 --> 01:39:03,660
Morricone said, "Look, the best
is that you gave me this script,
1183
01:39:03,826 --> 01:39:05,800
and I read it to get an idea."
1184
01:39:05,857 --> 01:39:07,777
Maestro, what do you want me to do?
1185
01:39:07,960 --> 01:39:09,680
He responds: “Love, love, love.”
1186
01:39:09,920 --> 01:39:11,480
See you again 2 days later.
1187
01:39:11,687 --> 01:39:14,060
Morricone played 5 or 6 notes.
1188
01:39:20,440 --> 01:39:21,760
Leone said to Morricone:
1189
01:39:22,160 --> 01:39:24,040
It’s thanks to my good tips!
1190
01:39:24,160 --> 01:39:27,000
"But what does this have to do with
Chaplin's Titine?"
1191
01:39:27,120 --> 01:39:29,238
“Well, we’re getting closer…”
1192
01:39:31,720 --> 01:39:34,235
Leone once said to Morricone:
1193
01:39:34,680 --> 01:39:40,640
"I would like to play this flute
of Pan in the film."
1194
01:39:48,480 --> 01:39:51,760
Morricone said: "We'll put some
at the appropriate time, Sergio.
1195
01:39:52,240 --> 01:39:54,320
We can't put it everywhere."
1196
01:39:54,480 --> 01:39:55,640
“But Pan’s flute is so…”
1197
01:39:55,800 --> 01:39:58,160
"I am responsible for placing
Pan's flute."
1198
01:39:59,210 --> 01:40:01,365
{\an8}He has a gun!
1199
01:40:05,855 --> 01:40:08,255
{\an8}Once upon a time in America.
(1984)
1200
01:40:10,320 --> 01:40:13,560
Ennio and Sergio were accomplices
in daily life.
1201
01:40:13,720 --> 01:40:17,413
Sergio told him about the films
that he would have liked to write.
1202
01:40:27,831 --> 01:40:33,413
With Sergio, we agreed
as soon as he told me about the film.
1203
01:40:41,145 --> 01:40:45,488
{\an8}Noodles, I fell.
1204
01:40:53,280 --> 01:40:58,480
He told me very precisely,
even explaining the plans to me.
1205
01:41:02,840 --> 01:41:05,400
I think dad depended on
Ennio's music.
1206
01:41:05,720 --> 01:41:09,520
He wanted his films to depend
music.
1207
01:41:22,601 --> 01:41:26,210
{\an8}In the soundtrack of
"Once upon a time in America",
1208
01:41:26,328 --> 01:41:30,791
{\an8}each piece is innovative,
each instrumentation, original.
1209
01:41:37,503 --> 01:41:42,949
The music in dad's movies is
much more than a soundtrack.
1210
01:41:43,042 --> 01:41:46,206
It was essentially
the dialogue of the film.
1211
01:41:52,760 --> 01:41:56,800
Often Sergio pushed me
to write musical themes,
1212
01:41:56,875 --> 01:41:58,890
even before filming.
1213
01:41:59,015 --> 01:42:02,873
I remember Ennio playing
"Once upon a time in America",
1214
01:42:03,007 --> 01:42:06,680
several years
before the film's release.
1215
01:42:07,080 --> 01:42:11,280
At that time, Sergio
was in full doubt.
1216
01:42:11,560 --> 01:42:15,153
Sometimes he asked me:
“Play me the other theme.”
1217
01:42:41,360 --> 01:42:45,760
A theme full of silences,
breaks, which I loved.
1218
01:42:50,099 --> 01:42:53,259
I wrote this theme in the USA
1219
01:42:53,420 --> 01:42:56,540
for “An infinite love” by Zeffirelli.
1220
01:42:56,773 --> 01:42:58,373
There is a scene where I said to myself:
1221
01:42:58,527 --> 01:43:01,407
"This song was written
by another composer."
1222
01:43:01,654 --> 01:43:06,200
He didn't want me to make the film
to be able to keep this song.
1223
01:43:06,292 --> 01:43:10,252
Dad often asked Ennio
to show him the unused themes.
1224
01:43:10,604 --> 01:43:12,040
What he had in his drawers.
1225
01:43:12,191 --> 01:43:14,631
I made him listen to
the theme for Zeffirelli,
1226
01:43:14,760 --> 01:43:16,400
which became Deborah's theme.
1227
01:43:16,561 --> 01:43:18,095
He loved her very much
1228
01:43:18,196 --> 01:43:21,299
and I must say that I love it
still today.
1229
01:43:36,811 --> 01:43:41,131
{\an8}The theme begins with
this low note continuously.
1230
01:43:41,211 --> 01:43:44,859
{\an8}The next note arrives
very gradually.
1231
01:43:54,055 --> 01:43:58,204
{\an8}Ennio tells a story
with this long outfit okay.
1232
01:43:58,306 --> 01:44:00,993
{\an8}It's brave
for writing this outfit.
1233
01:44:10,920 --> 01:44:12,120
Without this music...
1234
01:44:12,663 --> 01:44:14,143
I can’t imagine it any other way.
1235
01:44:14,360 --> 01:44:17,760
If I saw the scene without
hear this music...
1236
01:44:21,920 --> 01:44:26,880
Leone wanted us to hear
Ennio's music on set.
1237
01:44:27,080 --> 01:44:31,000
The sound system played the music
of Ennio during the takes.
1238
01:44:31,193 --> 01:44:33,353
The actors were filming
with background music.
1239
01:44:33,600 --> 01:44:35,720
And when we heard
Morricone's music...
1240
01:44:36,080 --> 01:44:37,320
It was a shock.
1241
01:44:37,840 --> 01:44:39,000
Engine !
1242
01:44:39,080 --> 01:44:42,560
Ready ? 144, 18 first!
1243
01:44:48,960 --> 01:44:49,920
Bobby.
1244
01:44:51,500 --> 01:44:54,429
This use of music
had struck everyone:
1245
01:44:54,563 --> 01:44:56,523
the actors, the whole team.
1246
01:44:57,422 --> 01:44:59,211
{\an8}What are you waiting for?
1247
01:44:59,905 --> 01:45:01,460
{\an8}I don't understand, Mr. Bailey.
1248
01:45:01,684 --> 01:45:05,691
We had the impression, no
to already see the film,
1249
01:45:05,841 --> 01:45:07,533
but to listen to it, yes.
1250
01:45:07,557 --> 01:45:08,997
{\an8}I was wondering...
1251
01:45:10,579 --> 01:45:12,899
The actors, even those
from De Niro's class
1252
01:45:13,120 --> 01:45:15,400
who are very attentive
direct connection,
1253
01:45:15,640 --> 01:45:19,520
playing a
scene with music,
1254
01:45:19,640 --> 01:45:24,103
they all told me: “Hear the
music is a big help."
1255
01:45:38,720 --> 01:45:41,360
In the sphere of music
elaborated and cultivated,
1256
01:45:41,480 --> 01:45:42,560
Ennio Morricone
1257
01:45:42,800 --> 01:45:46,960
was a name that kept coming back but
without arousing any particular interest.
1258
01:45:47,065 --> 01:45:49,394
Nobody listened to him seriously.
1259
01:45:49,680 --> 01:45:52,960
The great musicians of
the generation that preceded him
1260
01:45:53,120 --> 01:45:56,760
had a lot of difficulty
recognize the talent of Ennio Morricone.
1261
01:45:57,000 --> 01:46:01,400
In this sense, the definitive revelation
came with “Once upon a time…”
1262
01:46:01,485 --> 01:46:07,242
This music could not have
was written only by a great musician.
1263
01:46:16,800 --> 01:46:20,160
Here, his music interested me
at a higher level.
1264
01:46:20,233 --> 01:46:24,513
It’s music that doesn’t come through
superficially about things.
1265
01:46:24,720 --> 01:46:26,760
It penetrates them, it even creates them.
1266
01:46:27,073 --> 01:46:30,513
When I understood this,
I also understood Morricone.
1267
01:46:31,049 --> 01:46:32,280
Before that, no.
1268
01:46:32,877 --> 01:46:35,717
Boris Porena wrote
a letter of apology.
1269
01:46:35,982 --> 01:46:41,817
But not in Morricone, rather
to a period and to himself.
1270
01:46:42,160 --> 01:46:44,560
For not having understood,
1271
01:46:44,792 --> 01:46:46,592
for remaining blind and deaf
1272
01:46:46,760 --> 01:46:48,440
facing the power of ideology.
1273
01:46:48,560 --> 01:46:51,747
He belonged to another world
and he had snubbed it.
1274
01:46:52,280 --> 01:46:56,600
It took a while
before most of them,
1275
01:46:58,480 --> 01:47:01,280
bow before this genius.
1276
01:47:01,720 --> 01:47:04,440
When I read this letter to Ennio,
1277
01:47:04,760 --> 01:47:09,320
He got up and cried.
As if liberated, so to speak.
1278
01:47:09,560 --> 01:47:13,161
I remember when it came out
of the projection, he said:
1279
01:47:13,263 --> 01:47:15,325
“Damn it!
1280
01:47:15,350 --> 01:47:22,800
this goes far beyond
the only film music."
1281
01:47:38,107 --> 01:47:41,451
{\an8}I attended the screening
without seeing Morricone.
1282
01:47:41,576 --> 01:47:44,334
{\an8}I realized that I didn't see
that the top of his skull,
1283
01:47:44,443 --> 01:47:47,043
{\an8}because he was sunk in his chair.
1284
01:48:01,552 --> 01:48:05,044
{\an8}When he turned,
I saw he was crying.
1285
01:48:11,840 --> 01:48:16,640
I was distressed by the massacre
Indians and Jesuits.
1286
01:48:16,720 --> 01:48:19,200
Even without music, the film was beautiful.
1287
01:48:19,389 --> 01:48:20,972
I was going to ruin everything.
1288
01:48:21,040 --> 01:48:24,441
{\an8}He said: "No need to put
the music on this film.
1289
01:48:24,575 --> 01:48:27,431
{\an8}No, impossible I don't
Can't write anything about it!
1290
01:48:28,465 --> 01:48:30,207
{\an8}And he left.
1291
01:48:32,760 --> 01:48:35,680
"The Mission" has arrived
in the life of Ennio
1292
01:48:35,920 --> 01:48:38,840
at the moment he had decided
to stop cinema music.
1293
01:48:39,040 --> 01:48:43,373
This film arrived a little on the wrong foot
of this existential decision.
1294
01:48:50,223 --> 01:48:52,910
{\an8}I was at home one day
and the phone rings.
1295
01:48:53,637 --> 01:48:57,293
{\an8}"Roland...It's Ennio."
1296
01:48:58,840 --> 01:49:01,050
"I've been thinking...
1297
01:49:01,360 --> 01:49:04,277
I have a little idea..."
1298
01:49:19,829 --> 01:49:23,634
{\an8}I felt the shivers run through me
because I saw...
1299
01:49:24,399 --> 01:49:26,533
{\an8}I saw the film in the music.
1300
01:49:30,250 --> 01:49:33,810
My behavior was weird
during the writing of "Mission".
1301
01:49:34,040 --> 01:49:35,320
Almost without control.
1302
01:49:35,480 --> 01:49:37,840
I wrote this music
without controlling myself.
1303
01:49:38,040 --> 01:49:40,080
For an absolute piece of music,
1304
01:49:40,223 --> 01:49:42,903
Ennio could write for a whole year.
1305
01:49:42,960 --> 01:49:46,320
While he composed the music
of “Mission” in 2 months.
1306
01:49:46,640 --> 01:49:50,000
One of the many
Ennio's secret chambers.
1307
01:49:50,195 --> 01:49:54,555
We are here facing
a real phenomenon.
1308
01:49:55,600 --> 01:49:57,732
I first wrote
the oboe theme.
1309
01:49:57,840 --> 01:50:00,680
But as the film is set in 1750,
1310
01:50:00,800 --> 01:50:03,440
I was also inspired by
rules of the time.
1311
01:50:03,600 --> 01:50:06,360
The double “bite”,
the double "gruppetto",
1312
01:50:06,480 --> 01:50:08,597
acciaccatura", appoggiatura.
1313
01:50:08,690 --> 01:50:12,068
All these elements which
enrich the melody.
1314
01:50:13,080 --> 01:50:14,560
The bite...
1315
01:50:24,920 --> 01:50:26,120
Acciaccatura...
1316
01:50:27,800 --> 01:50:29,200
The biters...
1317
01:50:44,360 --> 01:50:49,180
And I thought wise
to insert a motet into the film.
1318
01:50:49,440 --> 01:50:53,000
By following the rules
of the Second Vatican Council.
1319
01:51:26,840 --> 01:51:28,080
Then...
1320
01:51:28,520 --> 01:51:31,120
The ethnic theme of the Indians.
1321
01:51:31,240 --> 01:51:32,760
Primitive music.
1322
01:51:32,954 --> 01:51:39,020
Within the motet itself,
I wrote another rhythmic theme.
1323
01:52:00,670 --> 01:52:04,240
{\an8}He's a real athlete,
he takes off his helmet, puts it down.
1324
01:52:04,374 --> 01:52:08,208
{\an8}He grabs his pen and
hand flies on the paper.
1325
01:52:08,465 --> 01:52:11,965
{\an8}We felt it vibrate
the energy in the studio.
1326
01:52:12,248 --> 01:52:15,419
{\an8}God only knows how he felt.
1327
01:52:18,720 --> 01:52:22,235
What's incredible,
is that I was able to combine
1328
01:52:22,640 --> 01:52:25,110
the oboe theme with the motet
1329
01:52:25,440 --> 01:52:28,360
and the theme of the motet
with the ethnic part.
1330
01:52:28,720 --> 01:52:31,520
Finally the ethnic part
with the theme of the oboe.
1331
01:52:31,640 --> 01:52:34,240
That is to say that the 3 themes
were completely intertwined.
1332
01:52:34,520 --> 01:52:36,280
But it was unintentional.
1333
01:52:36,520 --> 01:52:42,988
As if someone had suggested it to me...
Music and its logic...
1334
01:54:54,707 --> 01:54:59,090
{\an8}Ennio immersed himself in the film,
his music has taken over every space.
1335
01:54:59,793 --> 01:55:02,488
{\an8}Like a body that is enriched with a soul.
1336
01:55:02,575 --> 01:55:04,858
{\an8}Impossible to separate them.
1337
01:55:08,613 --> 01:55:13,040
{\an8}For me, there was no doubt
that he was going to win the Oscar.
1338
01:55:13,254 --> 01:55:15,425
{\an8}The winner is:
1339
01:55:18,652 --> 01:55:24,081
{\an8}I would like to apologize on behalf of
the Academy for this horrible mistake.
1340
01:55:24,320 --> 01:55:25,840
Herbie Hancock.
1341
01:55:26,040 --> 01:55:30,200
Great jazzman and composer,
great pianist, nothing to say.
1342
01:55:36,911 --> 01:55:39,711
But the protagonist was playing
already existing pieces.
1343
01:55:39,880 --> 01:55:42,560
So music from the repertoire,
1344
01:55:42,760 --> 01:55:45,680
that cannot be classified
in original music.
1345
01:55:45,920 --> 01:55:49,280
In fact, at the time of
Oscar proclamation,
1346
01:55:49,400 --> 01:55:51,545
the room protested.
1347
01:55:52,000 --> 01:55:54,160
And I left quickly.
1348
01:56:00,920 --> 01:56:04,287
He was the best, we all knew that.
He's number 1.
1349
01:56:04,560 --> 01:56:07,880
He did not have the
recognition he deserved.
1350
01:56:08,160 --> 01:56:09,920
Deep down, they didn't understand it.
1351
01:56:10,080 --> 01:56:14,861
You alternate film music
and chamber music.
1352
01:56:15,040 --> 01:56:18,440
It's true that I took again
this activity recently.
1353
01:56:18,552 --> 01:56:20,952
I had abandoned her for
cinema but I'm getting back into it.
1354
01:56:21,138 --> 01:56:24,193
Above all, I didn't want to die
having only worked for cinema.
1355
01:56:24,320 --> 01:56:27,749
For several years,
he strongly developed
1356
01:56:27,812 --> 01:56:29,946
the creation of serious music.
1357
01:56:30,080 --> 01:56:33,520
With compositions
of great value,
1358
01:56:33,600 --> 01:56:36,345
and of a certain aesthetic level.
1359
01:56:36,655 --> 01:56:40,467
At an Ennio concert,
Petrassi was in the front row.
1360
01:56:40,576 --> 01:56:45,606
When you see the respect that Ennio
still showed his master,
1361
01:56:45,760 --> 01:56:48,960
you understand that the cord
umbilical has never been cut.
1362
01:56:53,834 --> 01:56:56,318
{\an8}Cinema Paradiso (1988)
1363
01:56:58,800 --> 01:57:01,320
When the producer
Franco Cristaldi called Ennio,
1364
01:57:01,440 --> 01:57:05,354
to offer him Cinéma Paradiso,
he initially refused.
1365
01:57:05,470 --> 01:57:11,836
Franco called me back and said:
“Read the script and you’ll tell me.”
1366
01:57:12,400 --> 01:57:14,080
They call me at home:
1367
01:57:14,280 --> 01:57:18,006
"I am Ennio Morricone,
Can we see each other?"
1368
01:57:18,280 --> 01:57:19,733
You are welcome.
1369
01:57:21,960 --> 01:57:24,311
I went there, I was very moved.
1370
01:57:29,258 --> 01:57:33,858
He asked me if I wanted
Sicilian, folk music.
1371
01:57:34,280 --> 01:57:36,358
It hadn't crossed my mind.
1372
01:57:36,520 --> 01:57:38,194
Then he stared at me,
1373
01:57:38,392 --> 01:57:40,988
and said to me, “I’m making the movie.”
1374
01:57:46,600 --> 01:57:48,303
It was “Cinema Paradiso”.
1375
01:57:48,840 --> 01:57:51,144
And I did it with great joy.
1376
01:58:04,280 --> 01:58:05,842
A real life lesson.
1377
01:58:05,960 --> 01:58:09,800
Ennio treated me as an equal
and I was just a beginner.
1378
01:58:10,135 --> 01:58:13,855
While he had already done 350
of his 500 films.
1379
01:58:16,200 --> 01:58:22,254
The more he sought to move away from cinema
and the more cinema pursued him.
1380
01:58:25,000 --> 01:58:26,240
For ''The Incorruptibles',
1381
01:58:26,440 --> 01:58:30,960
I wrote all the themes in New York
and De Palma was enthusiastic.
1382
01:58:31,011 --> 01:58:33,171
On the last day, I was going to leave,
1383
01:58:33,291 --> 01:58:36,131
he told me: “The theme is missing
of the triumph of the police."
1384
01:58:36,520 --> 01:58:39,080
I replied: "I write it
in Rome and I'll send it to you."
1385
01:58:39,473 --> 01:58:41,153
“The Untouchables.”
1386
01:58:42,240 --> 01:58:45,120
I sent him 9 themes.
In my letter, I specified:
1387
01:58:45,360 --> 01:58:49,836
"Please don't choose number 6,
I don't like this one at all."
1388
01:58:50,480 --> 01:58:52,784
What did he choose? The 6th...
1389
01:59:12,120 --> 01:59:14,040
Ennio's talent is revealed,
1390
01:59:14,287 --> 01:59:17,541
not only in music
that he writes for a specific scene,
1391
01:59:17,600 --> 01:59:22,131
but also in the approach
that he has the scene.
1392
01:59:26,420 --> 01:59:27,620
{\an8}The accountant...
1393
01:59:28,108 --> 01:59:29,228
{\an8}The accountant?
1394
01:59:30,272 --> 01:59:31,272
{\an8}What?
1395
01:59:32,905 --> 01:59:34,585
{\an8}Is he on this train?
1396
01:59:39,247 --> 01:59:41,395
{\an8}Are you ready for anything?
1397
01:59:43,440 --> 01:59:47,200
When he represents violence,
he is the opposite of the image.
1398
01:59:47,360 --> 01:59:48,720
He moves away from it completely.
1399
01:59:48,794 --> 01:59:52,954
He has the power to propose to you
another point of view.
1400
02:00:03,640 --> 02:00:08,515
For the station scene,
I put on a waltz.
1401
02:00:10,453 --> 02:00:11,453
{\an8}Thank you.
1402
02:00:15,918 --> 02:00:17,598
{\an8}You are very kind.
1403
02:00:18,280 --> 02:00:21,400
This waltz with the box
to music allowed me
1404
02:00:21,560 --> 02:00:27,769
to lighten the mood a little
very tense scene.
1405
02:00:31,880 --> 02:00:33,760
De Palma disagreed.
1406
02:00:34,080 --> 02:00:37,661
But like the other directors,
he understood and accepted.
1407
02:00:41,800 --> 02:00:45,240
A few months later, I read
a newspaper interview with him
1408
02:00:45,378 --> 02:00:47,200
where he said I was right.
1409
02:00:47,289 --> 02:00:50,766
And that he had first
criticized my choice.
1410
02:00:53,440 --> 02:00:58,078
I was very satisfied with his
professional honesty.
1411
02:00:58,242 --> 02:01:00,593
{\an8}Come on, let's go!
1412
02:01:01,321 --> 02:01:04,488
{\an8}- What are you doing?
- Shut up!
1413
02:01:07,607 --> 02:01:10,899
Ennio Morricone was nominated
for the third time
1414
02:01:11,000 --> 02:01:13,080
for this De Palma film.
1415
02:01:13,240 --> 02:01:17,160
- Are you moved, Maestro?
- Not really anymore.
1416
02:01:17,280 --> 02:01:19,160
After 3 times I
am used to the idea,
1417
02:01:19,240 --> 02:01:21,320
I'm almost
sure I don't have it.
1418
02:01:25,100 --> 02:01:26,483
{\an8}The winners are:
1419
02:01:26,530 --> 02:01:30,252
{\an8}Sakamato, Byrne and Con Su for
"The last emperor."
1420
02:01:30,600 --> 02:01:32,040
Why do I like chess so much?
1421
02:01:32,320 --> 02:01:35,160
Because they teach
the fight of life.
1422
02:01:35,360 --> 02:01:37,400
The meaning of resistance.
1423
02:01:37,560 --> 02:01:39,320
The desire to improve.
1424
02:01:39,480 --> 02:01:42,920
Resistance to annoyance
imposed by the adversary.
1425
02:01:43,087 --> 02:01:45,807
He tries to win and
I'm trying to win.
1426
02:01:46,000 --> 02:01:48,372
But without any cruelty.
1427
02:01:53,421 --> 02:01:56,554
{\an8}When I received the music,
part of it was very good,
1428
02:01:56,656 --> 02:02:02,476
{\an8}but there was an element of my
sensitivity that he had not grasped.
1429
02:02:03,679 --> 02:02:06,390
{\an8}I wanted a return instead
1430
02:02:06,664 --> 02:02:09,272
{\an8}in the Sergio Leone style.
1431
02:02:11,335 --> 02:02:14,077
{\an8}With exaggerated sounds, like...
1432
02:02:21,918 --> 02:02:24,080
He wanted me to do the same thing again.
1433
02:02:24,231 --> 02:02:27,200
{\an8}One day I showed him a Tom and Jerry
1434
02:02:27,583 --> 02:02:29,316
{\an8}where they were hitting each other,
1435
02:02:29,442 --> 02:02:31,871
{\an8}or they fell,
something funny.
1436
02:02:32,059 --> 02:02:33,410
{\an8}He was shocked.
1437
02:02:33,638 --> 02:02:37,864
{\an8}He said to me: "You want me to write
for a cartoon?"
1438
02:02:38,145 --> 02:02:41,762
{\an8}"Ennio, something like that..."
1439
02:02:43,228 --> 02:02:46,219
{\an8}He felt insulted,
he told me:
1440
02:02:46,681 --> 02:02:49,422
{\an8}"That's enough, I'm going back to Italy."
1441
02:02:49,501 --> 02:02:51,901
{\an8}I'll write you something stupid.
1442
02:02:52,118 --> 02:02:54,785
{\an8}Lower your head and everything will be fine.
1443
02:02:54,920 --> 02:02:58,200
The problem is that compared to
to us directors and editors,
1444
02:02:58,520 --> 02:03:02,280
his ability to interpret cinema
is more interesting than ours.
1445
02:03:02,383 --> 02:03:06,723
Find an idea right away,
it’s hooking her up to the film.
1446
02:03:06,851 --> 02:03:10,241
Like a marriage with images,
love at first sight.
1447
02:03:10,376 --> 02:03:13,163
But it doesn't always work.
1448
02:03:13,800 --> 02:03:16,147
I suffered a lot from it.
1449
02:03:16,240 --> 02:03:20,851
At the time of "Pereira claims",
he was in the middle of a crisis.
1450
02:03:22,496 --> 02:03:27,630
Ennio said: "I don't know where to
turn to find an idea."
1451
02:03:30,040 --> 02:03:32,600
And one day, under the
windows from Ennio,
1452
02:03:32,760 --> 02:03:36,743
there was a demonstration with
guys playing drums.
1453
02:03:39,605 --> 02:03:43,576
There was a strike and
I heard these percussions:
1454
02:03:47,320 --> 02:03:51,491
I resumed this rhythm and
I used it throughout the film.
1455
02:03:51,898 --> 02:03:53,178
"Preira claims"
1456
02:03:53,520 --> 02:03:56,000
Listen, boy, sit down.
1457
02:03:58,400 --> 02:04:00,440
The 10 commandments don't say this.
1458
02:04:00,640 --> 02:04:02,000
But me, yes.
1459
02:04:02,320 --> 02:04:04,460
The reason of the heart...
1460
02:04:05,560 --> 02:04:06,800
is the most important.
1461
02:04:07,040 --> 02:04:10,440
He uses the formula
rhythm of May 68.
1462
02:04:10,560 --> 02:04:12,560
"This is just the beginning,
let's continue the fight",
1463
02:04:12,640 --> 02:04:16,160
and modifies it to make it
musical structure.
1464
02:04:16,760 --> 02:04:20,080
Which will symbolize the
determination of Pereira.
1465
02:04:20,560 --> 02:04:24,356
This rhythm
allows you to write music
1466
02:04:24,480 --> 02:04:28,840
which in itself is already revolutionary.
1467
02:04:34,880 --> 02:04:37,920
I told him I wanted to add
a song of the time.
1468
02:04:38,080 --> 02:04:40,098
And we didn't agree.
1469
02:04:43,160 --> 02:04:47,122
But he was right, he had written
a superb song.
1470
02:05:18,360 --> 02:05:21,960
I think that a partition must
have meaning in itself.
1471
02:05:22,280 --> 02:05:25,951
In order to do justice to
film that it accompanies.
1472
02:05:36,246 --> 02:05:39,878
{\an8}There is in Ennio a
deep spirituality.
1473
02:05:49,643 --> 02:05:52,807
{\an8}He manages to awaken in your soul
1474
02:05:52,885 --> 02:05:56,611
{\an8}an energy you knew nothing about
and who slept in you.
1475
02:06:02,840 --> 02:06:04,680
During sessions with the orchestra,
1476
02:06:04,920 --> 02:06:08,240
he came to the cabin and
threw himself on the sofa.
1477
02:06:08,720 --> 02:06:13,266
He could sleep for 20 seconds,
like Napoleon.
1478
02:06:13,800 --> 02:06:15,920
“Don’t disturb the Maestro, he’s sleeping.”
1479
02:06:16,200 --> 02:06:21,731
In 20 seconds he was ready
to return to lead like a lion.
1480
02:06:36,103 --> 02:06:38,697
For “The Legend of
pianist on the ocean"
1481
02:06:38,840 --> 02:06:43,386
he started writing the themes then
that I hadn't finished the script.
1482
02:06:46,119 --> 02:06:49,399
We worked in pairs
by constantly confronting each other,
1483
02:06:49,530 --> 02:06:51,498
even during filming.
1484
02:06:54,040 --> 02:06:56,480
It was as if,
for some mysterious reason,
1485
02:06:56,560 --> 02:07:00,120
Ennio recognized himself in the
character of the young pianist
1486
02:07:00,400 --> 02:07:04,813
who would never give up
the vessel of his music.
1487
02:07:59,000 --> 02:08:02,800
Following the immense emotion
sparked in New York...
1488
02:08:03,000 --> 02:08:08,796
Ennio Morricone dedicated a
symphony to the tragedy of 09/11/2001.
1489
02:08:15,440 --> 02:08:18,920
This composition is
born from tragic feeling
1490
02:08:19,040 --> 02:08:22,360
of the attack on the twin towers,
1491
02:08:22,480 --> 02:08:25,600
in memory of all the carnage
of human history.
1492
02:08:25,737 --> 02:08:28,190
Where the rainbow ends,
1493
02:08:28,354 --> 02:08:30,674
{\an8}there will be a place, my brother
1494
02:08:30,831 --> 02:08:33,635
{\an8}where the world can
sing all the songs.
1495
02:08:33,776 --> 02:08:37,510
{\an8}He perceives the way to connect
1496
02:08:37,635 --> 02:08:42,971
{\an8}sound, image and story
in infinite variations.
1497
02:08:43,049 --> 02:08:45,649
{\an8}For we do not know
not the melody
1498
02:08:45,745 --> 02:08:48,658
{\an8}and it's a melody
difficult to learn.
1499
02:08:48,753 --> 02:08:51,775
{\an8}But we can learn, brother.
1500
02:08:52,159 --> 02:08:55,158
{\an8}"The voices of silence"
1501
02:08:56,240 --> 02:08:57,800
A large orchestra,
1502
02:08:57,920 --> 02:08:59,880
a choir, one who recites
1503
02:09:00,080 --> 02:09:03,280
and these ethnic music bands.
1504
02:09:03,760 --> 02:09:06,947
See how these disciplines
walk together.
1505
02:09:10,600 --> 02:09:13,760
Hearing this music,
I felt close
1506
02:09:14,000 --> 02:09:16,607
of everything we had seen at home,
1507
02:09:16,720 --> 02:09:19,951
during the events in New York.
1508
02:09:26,808 --> 02:09:31,174
He knows how to express,
inside and as a person,
1509
02:09:31,323 --> 02:09:35,690
the feelings you feel
on a musical staff.
1510
02:09:44,320 --> 02:09:47,016
I don't regret having written
music for the cinema.
1511
02:09:47,140 --> 02:09:50,507
I hope I arrived, little by little
1512
02:09:50,898 --> 02:09:55,034
to converge absolute music
and cinema music.
1513
02:09:55,888 --> 02:09:58,484
The two got mixed up.
1514
02:10:00,800 --> 02:10:04,240
This very concept of convergence
1515
02:10:04,355 --> 02:10:07,675
is of importance
fundamental in my life.
1516
02:10:14,472 --> 02:10:16,834
At some point...
1517
02:10:17,240 --> 02:10:20,440
The two souls met.
1518
02:10:21,980 --> 02:10:25,972
{\an8}Ladies and gentlemen, Ennio Morricone.
1519
02:10:44,186 --> 02:10:48,021
{\an8}It was a great moment when
he had an Oscar for his career.
1520
02:10:48,158 --> 02:10:51,438
{\an8}It was like Hollywood
apologized, it was grandiose.
1521
02:10:51,611 --> 02:10:53,704
{\an8}They finally admitted it.
1522
02:10:54,517 --> 02:10:56,923
{\an8}Thank you from the bottom of my heart.
1523
02:10:57,680 --> 02:10:59,680
I want to thank the Academy...
1524
02:11:00,720 --> 02:11:03,172
for the honor she does me...
1525
02:11:03,428 --> 02:11:06,271
by giving me this
coveted reward.
1526
02:11:06,327 --> 02:11:09,608
{\an8}After so many years, the Academy
thought he should have an Oscar
1527
02:11:09,788 --> 02:11:11,855
{\an8}for his entire career.
1528
02:11:11,920 --> 02:11:14,483
{\an8}He was finally rewarded,
it's wonderful.
1529
02:11:14,800 --> 02:11:17,960
I dedicate this Oscar to my
wife Maria who loves me so much
1530
02:11:18,080 --> 02:11:20,276
and who has always been close to me.
1531
02:11:20,480 --> 02:11:22,400
I love him just as much,
1532
02:11:22,520 --> 02:11:25,792
this award is also for her.
1533
02:11:29,689 --> 02:11:34,407
{\an8}One might have believed that his
age, he would end his career.
1534
02:11:34,470 --> 02:11:37,270
{\an8}But surprise!
He continued to work.
1535
02:11:48,456 --> 02:11:50,603
At the Royal Albert Hall in London,
1536
02:11:50,705 --> 02:11:54,087
the audience stood up as soon as
that he entered the stage
1537
02:11:54,120 --> 02:11:56,080
and gave him a standing ovation.
1538
02:11:56,280 --> 02:11:58,791
I had goosebumps.
1539
02:12:10,000 --> 02:12:12,120
It is the honor of Italy
at the global level,
1540
02:12:12,240 --> 02:12:14,880
a true giant,
an extraordinary artist,
1541
02:12:15,360 --> 02:12:16,600
The Maestro
1542
02:12:17,000 --> 02:12:18,920
Ennio Morricone.
1543
02:12:33,808 --> 02:12:37,065
{\an8}My favorite composer
of all time.
1544
02:12:37,167 --> 02:12:40,291
He great Maestro Ennio Morricone!
1545
02:12:40,578 --> 02:12:41,823
Ennio!
1546
02:12:41,927 --> 02:12:43,327
Ennio!
1547
02:12:56,320 --> 02:13:00,898
There is no one place in the world,
South America, Asia
1548
02:13:01,099 --> 02:13:04,817
not to mention Europe,
where he is not welcomed
1549
02:13:05,480 --> 02:13:06,960
like a pop star.
1550
02:13:14,672 --> 02:13:18,414
I remember a concert in Paris,
of film scores
1551
02:13:18,508 --> 02:13:20,080
and a delirious public.
1552
02:13:20,360 --> 02:13:23,320
When I went to his dressing room,
I wanted to tell him:
1553
02:13:23,800 --> 02:13:28,057
Ennio, now you know
that it's great music
1554
02:13:28,260 --> 02:13:31,260
of the 20th century "in short".
1555
02:13:32,000 --> 02:13:34,320
He said to me: “I think so.”
1556
02:13:34,640 --> 02:13:38,840
At first I thought what to do with
music in the cinema was humiliating.
1557
02:13:39,040 --> 02:13:40,760
Little by little, I changed my mind.
1558
02:13:40,934 --> 02:13:44,040
On the contrary, today I think
than cinema music
1559
02:13:44,280 --> 02:13:47,240
is by right,
contemporary music.
1560
02:13:47,440 --> 02:13:51,040
He knew how to take a
turning into full maturity,
1561
02:13:51,240 --> 02:13:54,160
to find an impressive
artistic freshness.
1562
02:13:59,003 --> 02:14:03,227
{\an8}At first, Ennio said to me: "Why
Do you want original music?”
1563
02:14:03,362 --> 02:14:07,127
{\an8}Usually you make a compilation
of different artists.
1564
02:14:07,206 --> 02:14:08,726
{\an8}Why change?"
1565
02:14:08,760 --> 02:14:11,377
{\an8}Honestly, I didn't know
if I wanted to change but...
1566
02:14:11,471 --> 02:14:14,338
{\an8}I would only use
his original music.
1567
02:14:14,525 --> 02:14:16,510
And he convinced me.
1568
02:14:18,415 --> 02:14:21,992
{\an8}"The eight bastards"
1569
02:14:27,920 --> 02:14:30,040
He carries within him his musical loves,
1570
02:14:30,159 --> 02:14:35,209
like the beginning of the fugue of “La
Symphony of Psalms" by Stravinsky.
1571
02:14:47,967 --> 02:14:50,727
Tarantino of course,
loved Leone's films,
1572
02:14:50,840 --> 02:14:54,506
he certainly didn't expect
to this kind of music.
1573
02:15:01,720 --> 02:15:06,200
What could I have written
without repeating myself?
1574
02:15:06,880 --> 02:15:10,220
I wrote a symphony,
a true symphony.
1575
02:15:12,519 --> 02:15:15,441
As a good chess player,
Morricone took Tarantino
1576
02:15:15,466 --> 02:15:16,725
on its own land.
1577
02:15:16,848 --> 02:15:19,644
{\an8}Ennio broadened my vision.
1578
02:15:23,480 --> 02:15:26,480
It was like taking
my revenge on the western,
1579
02:15:26,680 --> 02:15:29,200
to put an end to the past.
1580
02:15:34,297 --> 02:15:38,523
{\an8}Ennio Morricone is
my favorite composer.
1581
02:15:38,946 --> 02:15:43,594
{\an8}Not just from the ghetto
cinema musicians.
1582
02:15:43,993 --> 02:15:49,625
{\an8}I'm talking about Mozart, Beethoven,
1583
02:15:49,665 --> 02:15:51,914
{\an8}I'm talking about Schubert.
1584
02:15:52,040 --> 02:15:54,930
Tarantino is hyperbolic.
1585
02:15:55,040 --> 02:15:57,200
It was Ennio who gave him the answer.
1586
02:15:57,504 --> 02:16:02,566
To know if he is a Mozart or a
Beehtoven, we will have to wait 200 years.
1587
02:16:02,760 --> 02:16:06,480
When you open a page of Beethoven,
1588
02:16:07,000 --> 02:16:09,098
even if you don't know how to play it,
1589
02:16:09,360 --> 02:16:10,840
you see clear writing.
1590
02:16:11,080 --> 02:16:13,040
At Ennio, everything is clear.
1591
02:16:13,181 --> 02:16:17,313
{\an8}When I think of all of his
work, it is difficult for me to find
1592
02:16:17,462 --> 02:16:22,235
{\an8}an equivalent in film music.
1593
02:16:22,406 --> 02:16:26,484
{\an8}I then have to look at others
geniuses like the Beatles,
1594
02:16:26,728 --> 02:16:28,930
{\an8}Bach or Charlie Parker.
1595
02:16:29,080 --> 02:16:32,840
Chopin, Tchaikovsky
achieved immortality.
1596
02:16:32,962 --> 02:16:36,171
Why not music too?
film by Ennio Morricone?
1597
02:16:36,240 --> 02:16:38,160
I agree with Tarantino.
1598
02:16:38,404 --> 02:16:42,529
{\an8}In 200 years, when we will speak
from Ennio, everyone will agree:
1599
02:16:42,622 --> 02:16:45,694
{\an8}Ennio was a great man,
a great composer
1600
02:16:45,763 --> 02:16:47,697
{\an8}because he was a precursor.
1601
02:16:48,120 --> 02:16:51,200
I believe he acquired
an extraordinary position.
1602
02:16:51,400 --> 02:16:55,280
By his ability to look behind
but also to look ahead.
1603
02:16:55,575 --> 02:16:59,243
The past of music
but also its future.
1604
02:16:59,872 --> 02:17:01,552
{\an8}And the Oscar goes to...
1605
02:17:03,153 --> 02:17:06,286
{\an8}Ennio Morricone for
“The bastard eight”.
1606
02:17:06,513 --> 02:17:08,739
{\an8}My brother!
1607
02:17:09,568 --> 02:17:14,388
{\an8}This is the first Oscar after 6
nominations for Ennio Morricone.
1608
02:17:14,615 --> 02:17:17,333
{\an8}He received an honorary Oscar in 2006
1609
02:17:17,411 --> 02:17:22,820
{\an8}for all of his work
and his contribution to film music.
1610
02:17:34,232 --> 02:17:37,137
{\an8}We were both overjoyed.
1611
02:17:39,040 --> 02:17:41,440
He taught us how to live
with its legend.
1612
02:17:41,560 --> 02:17:46,388
He had this extraordinary luck
to have been recognized
1613
02:17:46,424 --> 02:17:51,036
like an international Maestro
in all his creativity,
1614
02:17:51,160 --> 02:17:54,099
This made him a happy composer.
1615
02:17:56,789 --> 02:17:58,770
He deserves it and more.
1616
02:17:58,920 --> 02:18:02,427
Because he is a worker,
a great musician
1617
02:18:02,520 --> 02:18:04,271
and he doesn't play the "artist".
1618
02:18:06,880 --> 02:18:12,240
We were in the middle of a tour and
he was upset that in Israel,
1619
02:18:12,520 --> 02:18:14,895
the passport officer recognized him.
1620
02:18:15,000 --> 02:18:17,160
He never got upset
1621
02:18:17,280 --> 02:18:21,715
but he became a
sort of icon today.
1622
02:18:32,352 --> 02:18:35,432
It is totally understood by the people.
1623
02:18:35,720 --> 02:18:38,039
People around the world.
1624
02:18:48,210 --> 02:18:50,570
Many groups
use my music.
1625
02:18:51,370 --> 02:18:56,592
There are even some who repeat parts
themes in their creations.
1626
02:19:05,198 --> 02:19:08,160
He was always ahead
in terms of language.
1627
02:19:08,280 --> 02:19:10,534
It was he who even imposed his language.
1628
02:19:10,800 --> 02:19:14,479
And therefore it cannot be considered
as a precursor.
1629
02:19:21,972 --> 02:19:24,212
It is the precursor of
transversality.
1630
02:19:31,714 --> 02:19:34,112
{\an8}Young artists do:
1631
02:19:34,167 --> 02:19:36,050
{\an8}I have to put it in my song.
1632
02:19:36,113 --> 02:19:37,793
{\an8}They are inspired by him.
1633
02:19:45,147 --> 02:19:48,907
Ennio's music attracts
also the very young.
1634
02:19:55,012 --> 02:19:57,910
{\an8}He will remain a source of inspiration
for a very long time.
1635
02:19:58,019 --> 02:20:00,785
{\an8}Because it's him, he's honest.
1636
02:20:01,066 --> 02:20:04,433
{\an8}Even though I've never seen it, I
the feeling of knowing him
1637
02:20:04,574 --> 02:20:06,094
{\an8}thanks to his music.
1638
02:20:17,804 --> 02:20:24,586
{\an8}"Cinéma paradiso" is one of the works
the most profound and iconic
1639
02:20:24,852 --> 02:20:28,241
{\an8}to which I constantly refer.
1640
02:20:41,448 --> 02:20:45,095
{\an8}We start and we
ends the concert with that.
1641
02:20:45,260 --> 02:20:47,393
{\an8}A very, very deep emotion.
1642
02:20:54,543 --> 02:20:57,040
To try to
find its sound color,
1643
02:20:57,160 --> 02:21:00,960
some sounds were reproduced,
sampled
1644
02:21:01,127 --> 02:21:04,527
and used in records
of pop and rock artists.
1645
02:21:04,652 --> 02:21:09,073
{\an8}Its influence is more marked
today than 20 years ago.
1646
02:21:12,876 --> 02:21:18,267
{\an8}I like the sound, the dynamics
the layering of Ennio's sounds.
1647
02:21:18,353 --> 02:21:21,142
{\an8}I draw a lot of inspiration from him.
1648
02:21:23,086 --> 02:21:26,281
{\an8}Many people sing his songs.
1649
02:21:28,211 --> 02:21:30,873
{\an8}It makes my heart beat faster.
1650
02:21:36,800 --> 02:21:39,143
{\an8}We had to play it on guitar
and I said:
1651
02:21:39,289 --> 02:21:42,042
{\an8}"Leave it, I'm the one who does it!"
1652
02:21:46,640 --> 02:21:50,960
They do not deny their personalities
in this mysterious sympathy
1653
02:21:51,040 --> 02:21:53,350
that they have for my music.
1654
02:21:56,781 --> 02:21:58,670
{\an8}Did you like it?
1655
02:22:01,088 --> 02:22:05,392
{\an8}There is no composer who
ignores Ennio's work.
1656
02:22:06,548 --> 02:22:08,915
{\an8}But can it be taught?
1657
02:22:13,560 --> 02:22:15,000
Without Ennio Morricone,
1658
02:22:16,280 --> 02:22:17,840
many of
we wouldn't be there.
1659
02:22:18,040 --> 02:22:22,373
We would have a language
different, poorer.
1660
02:22:24,507 --> 02:22:30,240
{\an8}Combine several universes
musical, I learned it directly
1661
02:22:30,530 --> 02:22:33,530
{\an8}of Morricone’s courageous work.
1662
02:22:33,800 --> 02:22:39,209
His teaching is silent.
No one has taken an Ennio course.
1663
02:22:40,154 --> 02:22:43,994
I listen to a lot of music and
Ennio is still there somewhere.
1664
02:22:44,401 --> 02:22:47,081
Someone will use
the strings like him,
1665
02:22:47,320 --> 02:22:50,604
or the piano as he uses it.
But it's not him.
1666
02:22:51,019 --> 02:22:52,807
He is the music.
1667
02:22:52,963 --> 02:22:56,043
Music flows from him,
whatever he writes.
1668
02:22:56,952 --> 02:23:01,032
Maybe even
without him being aware of it.
1669
02:23:09,400 --> 02:23:12,440
I made my first film in 1961.
1670
02:23:12,720 --> 02:23:16,560
I said to my wife:
“In 1970, I stopped working in the cinema”.
1671
02:23:17,400 --> 02:23:21,760
In 1970, I said: "I'm stopping in 1980."
1672
02:23:22,680 --> 02:23:26,160
In 1980, I said: "I'm stopping in 1990."
1673
02:23:26,403 --> 02:23:29,254
In 1990, I said: "I'm stopping in 2000."
1674
02:23:30,040 --> 02:23:32,246
Now I don't say anything anymore.
1675
02:23:47,507 --> 02:23:50,516
Ennio managed to merge together
1676
02:23:50,600 --> 02:23:52,789
prose and poetry.
1677
02:23:57,840 --> 02:23:59,880
He completely redefined the rules.
1678
02:23:59,969 --> 02:24:03,276
Normality that becomes exceptional.
1679
02:24:06,880 --> 02:24:09,950
Ennio almost offers
always an elevation.
1680
02:24:09,975 --> 02:24:13,176
Something that
makes you think and gets you high.
1681
02:24:17,020 --> 02:24:20,919
{\an8}Damn it! It bothers me
still learning today.
1682
02:24:25,604 --> 02:24:30,588
{\an8}Ennio's music transcends,
it takes you to another universe.
1683
02:24:35,311 --> 02:24:39,580
The God of Music speaks to
through him, he is as if possessed.
1684
02:24:42,023 --> 02:24:44,556
{\an8}If you doubt the existence of God,
1685
02:24:44,687 --> 02:24:48,655
{\an8}by listening to his music, you
say there's something up there.
1686
02:24:50,920 --> 02:24:53,960
His music is eternal.
1687
02:24:57,697 --> 02:25:01,384
{\an8}It's the king of beautiful notes.
1688
02:25:01,509 --> 02:25:03,909
{\an8}And beautiful notes are eternal.
1689
02:25:05,920 --> 02:25:10,640
If we want to describe it, we realize
that a whole life would not be enough.
1690
02:25:13,146 --> 02:25:17,967
He will go down in history
and his music will always be there.
1691
02:25:22,272 --> 02:25:24,686
{\an8}Ennio was the soundtrack
of people's lives.
1692
02:25:24,796 --> 02:25:29,651
{\an8}They worked, loved each other and
laughed along with his music.
1693
02:25:29,800 --> 02:25:32,295
He is part of our family.
1694
02:25:32,520 --> 02:25:33,965
He is like a parent.
1695
02:25:34,208 --> 02:25:36,832
{\an8}He will always be there.
1696
02:25:38,317 --> 02:25:40,449
{\an8}He is immortal.
1697
02:25:49,530 --> 02:25:52,368
The music must be
thought before being written.
1698
02:25:53,449 --> 02:25:55,267
That's the problem.
1699
02:25:55,687 --> 02:26:00,698
The problem that still arises
when we start a composition.
1700
02:26:01,219 --> 02:26:04,456
Facing the composer,
there is the blank page.
1701
02:26:05,440 --> 02:26:09,611
What do we put on this page?
1702
02:26:10,120 --> 02:26:12,502
What do we put on it?
1703
02:26:12,880 --> 02:26:16,450
That's it, there is a thought
which must develop
1704
02:26:17,640 --> 02:26:19,747
and move forward.
1705
02:26:20,280 --> 02:26:23,320
Looking for what?
1706
02:26:23,880 --> 02:26:26,069
We don't know anything about it.
1707
02:26:32,444 --> 02:26:37,990
Translation of Waterhouse34