Original subtitles

He is a very enigmatic character, even if he doesn't seem like it.

Serious. Very serious.

Always a lot ...

very busy.

He has the characteristic of always being himself,

but, at the same time, also always a new person.

We are talking about a genius.

Ennio Morricone is the great exception to all the rules.

A great talent hidden very well,

but exploded every time he then writes.

I have never seen a phenomenon like Ennio Morricone.

For prudence, let's say that we are faced with a sure sketch of a masterpiece.

Working with Ennio Morricone was like putting on a medal.

A particular man.

He was crazy.

This yes.

Ennio's world is not yet fully discovered.

I never thought that music was my destiny.

My intention was to become a doctor.

My father said, "No, he will study the trumpet."

And he sent me to the conservatory to study trumpet.

It's dad who decided to make me a trumpet player.

I have not decided anything.

As you can see, I was just a kid.

At the solfeggio I went wrong immediately. The first quarter I took three.

My father put me under severely.

At parties, I didn't play bingo, nor at seven and a half ...

Let's see the joke.

And then I got better.

I was six when my father taught me the treble clef,

also explaining the notes, the position on the staff.

The father just played the trumpet

in a regimental band.

He played in theaters that had variety.

In my house, we had a turntable.

And since I listened to "Il Franco Cacciatore",

I wrote about the hunts.

For two horns ...

Such ... useless things. At ten, I tore everything up.

I started studying the trumpet at the age of 11.

And at 16, I got my diploma.

My father told me there was a young man,

trumpeter's son,

who came there, in the pit, with his music manuscript,

and fell asleep.

He played the trumpet,

and fell asleep during a part that was not his own.

At the Casina delle Rose he presented Mario Riva.

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

An extraordinary trumpet player,

but he was very strict.

He was very careful about expenses.

His trumpet lasted a lifetime.

When dad gives him the trumpet and says:

"I give bread to you with this instrument, you will do the same with your family".

It's over.

He bought me a used trumpet.

It cost less, so he saved money.

He is a musician and can't do anything else.

I remember that during the time of the Germans,

and then with the Americans,

I went with an orchestra from one hotel to another.

We went there to eat, they didn't pay us.

Some of my colleagues put the saucer on the battery

because the soldiers made their offer.

The family lived off their father's work.

When Ennio's father fell ill, he had to replace him

in night clubs in entertainment orchestras.

Use the trumpet to earn money to eat

it was a very serious humiliation.

It's this one...

I felt this humiliation.

And so I didn't love her anymore.

To replace my father, I played until two or three in the morning.

I got up early in the morning because I went to the conservatory,

then I had to do my homework.

At the trumpet exam, I presented myself with a split lip.

Tired out. I took an exam ...

Like this.

They gave me seven and a half.

Meanwhile I was studying complementary harmony.

I didn't stick to the rules, but I enriched them, I flourished them.

And Roberto Cagiaro, my teacher, at the end of the course, told me:

"Now you have to study composition".

And I listened to Cagiaro.

These...

Goffredo Petrassi is one of the great classical composers of the 20th century,

he was an enormous teacher for me.

When, in the seventh year,

I had to go to a high composition class,

there were two distinguished teachers.

Petrassi was one of them.

Music is an intellectual fact.

I studied his scores, which I liked the way they were written.

Handwriting, the beauty of handwriting.

Every unison, it's not in unison,

because he invents something else on top of it.

Scores that used to be a school.

I decided to go to him, to Petrassi.

Morricone has always specified

to have chosen Petrassi as a teacher.

The secretary immediately told me:

"Maestro, Petrassi's class is full of students and you can't".

"If you don't send me to Petrassi, I won't come to the conservatory anymore."

You go and look for his techniques in that composer,

and you want to make them yours.

I entered very shyly

because everyone knew they were good in that class.

All extraordinary composers.

Ennio Morricone had much humbler origins

compared to his comrades.

The conservatory belonged to the elite.

In the face of giants, I was so small.

I felt almost humiliated.

He looked at us a little from the bottom up.

It was not usual for a trumpet player to study composition,

therefore Ennio Morricone was, in my opinion, discriminated against.

Petrassi, gave me the dance for a month or two.

The tarantella.

The stuffed.

the jig

Il boogie woogie.

The samba.

I was not happy.

He didn't give me a sense of his satisfaction.

At first I was impressed

that Petrassi himself underestimated Ennio a little.

That he didn't have enough interest in this person.

Finally, this dance story over,

the research explained to me.

And he commissioned me to research.

That time,

was the moment where I was no longer wrong.

So he gave me great satisfaction as a teacher.

It was a counterpoint, four parts ... five parts ...

It was the form that had preceded the escape, very interesting,

of which Frescobaldi was the head of the school.

He, a century before Bach,

he made hints of counterpoint, of two melodies together.

The famous ten years with Petrassi,

are those in which the master was fed on bread and Palestrina.

Bread and Monteverdi,

so the counterpoint knows it like no one in the world.

So much Petrassi was influenced by Stravinsky

who transmitted this passion for Stravinsky to Morricone.

I listened to one of Stravinsky's top pieces.

The "Symphony of Psalms".

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

In Santa Cecilia. It was a test.

There was a crack, the door open, the orchestra playing ...

And I...

I've always been impressed with that piece.

Floor. Plan immediately.

When I was studying composition, I didn't show my father anything.

I was in my room and I wrote,

I wrote, I wrote.

An attentive, diligent pupil.

I was happy and optimistic for his future.

But I studied and worked.

He played the trumpet at the Sistina.

I was the first added trumpet.

I used to play in all the magazines,

Walter Chiari, Tognazzi, Rascel, all the comedians,

Dapporto, Wanda Osiris, Macario, Totò ...

The beautiful thing was the last dancers' catwalk,

to which I complimented as they passed over.

I looked at them and said all the titles of the American songs

that I had played in the past.

"My dream".

And that smiled.

Later, in order not to miss the trolleybus,

I put down the trumpet and ran home like crazy.

Music, master!

I did the arrangements secretly.

He didn't know, Petrassi.

He found out later.

The first who called me was Carlo Savina.

Savina once protested

an arrangement, in a striking way.

He threw the music upside down.

Sometimes I did some experiments.

Savina called me a little angry, she said: "The sharp was missing,

here the flat, this note what it is, you don't understand ... "

Savina was tied to a slightly old concept.

Instead Morricone's arrangements were extremely modern.

Street. One two Three.

The first cinematic experiences

I made them playing the trumpet in film orchestras.

I participated in beautiful performances with Lavagnino,

Franco Bacchiardi, Enzo Masetti.

A soundtrack where I played was "Fabiola" by Alessandro Blasetti.

In the final composition exam, we had to write an opera scene.

There, I made a double escape.

Two subjects and two counter-subjects.

On Glauco who, with the stormy sea, was about to land.

And Circe showed up, ready to seduce him.

And there I faced a writing ...

so twisted, but so elegant.

So curvy, so sensual.

This was ...

He could not make it.

The commission included Guido Guerrini, the director,

Guido Turchi, Fernando Previtali,

Goffredo Petrassi and Virgilio Mortari.

Quite opposed.

Guerrini did not understand the music that Petrassi wrote.

So there was some kind of rivalry.

He asked me a trick question.

"Because she shared a pizzicato of contrabasses

where he puts the open string with the higher octave. "

"Why did he do this?"

He didn't make me answer. Petrassi attacked the director.

"What question is this?"

Petrassi got angry, yes.

They gave me nine and a half.

I remember it because they gave me nine,

and I was very envious of his nine and a half.

He left the conservatory,

and as usual, I accompanied Petrassi,

at via Germanico 181.

That time...

we were both moved.

He was crying, and so was I.

He promised me that he would find me a place to work.

He meant at the conservatory, to teach.

Nothing happened.

When I went to the military, they immediately put me in the gang.

The colonel commissioned me to orchestrate for a band.

And we played on the street.

And my fiancée, Maria, was running after me.

She was so pretty.

He was married to Maria who was exemplary among us.

Because he was just like her husband.

She was a serene woman.

Always smiling. We called her Our Lady.

At the exit of the conservatory,

I was like a naked composer in front of the time that lived.

I wanted to defend myself from this loneliness.

And so I wrote the first concert for orchestra.

My mother, faced with my musical position, told me:

"But Ennio, make me a beautiful melody,

a nice song".

He tortured me, he told me: "And write a song.

A beautiful melody, you have to do!

So you make it successful ".

I could hear it playing from morning until evening.

He wasn't composing music for movies at the time.

He was very poor.

Maria, as she worked for the Christian Democrats,

without telling me anything he recommended me, and made me take me to RAI.

The first day, the director of the center in via Teulada called me.

And he said to me: "Master, I must warn you that you cannot make a career.

And you, as a composer, cannot be performed at RAI ".

"What am I doing here? I resign."

Thanks to Petrassi I went to Darmstadt,

at the contemporary music festival.

It was a moment of bewilderment of contemporary music.

John Cage had come to Darmstadt to criticize him.

He did the concert playing two notes on the piano,

turned on the radio, turned it off,

gave a bang, turned the pages ...

I had an idea,

I got around these colleagues of mine all graduated in composition,

Franco Evangelisti, Boris Porena, Aldo Clementi, Egisto Macchi, and others.

Look, you do a certain ...

a grumble.

You make a larynx sound.

And so I directed this ...

There, the Nuova Consonanza improvisation group was born .

It was a breakout group.

Because he did not use the traditional techniques of sound emission.

They were always techniques ...

to the extreme.

We made some traumatic sounds. That's what we called them.

The trumpet was not to be recognized.

We played it in all ways.

Putting your hand in front of the bell, pushing the pistons in half,

which made a kind of strange meow. Even ugly!

A different way of making music.

It was a work done on sound,

rather than on the melody.

Indeed, the melody was almost banned.

But Ennio worked daily with the melody,

It looks like a conflict, a cinematic gimmick.

♪ Cinema cinema what a passion ♪

I did all the arrangements of the Quartetto Cetra.

They chose the pieces.

they gave me a kind of trick,

and I instrumented the brogliaccio for the orchestra.

♪ And the exploits of Robin Hood ♪

Their choice was aimed at pieces that people knew,

where they put different words.

♪ Senate, Senate, Senate ♪

♪ The interpellation I have prepared ♪

♪ Senate, Senate, Senate ♪

♪ The Egyptian Facts Will Solve ♪

In each episode, there were so many pieces.

This brogliaccio gave it to me the day before,

and went to check in the next morning.

So, I spent a night writing.

♪ When mom made me When mom made me ♪

♪ Son said when you can Always mind your own business ♪

He practically did what is called the Negro in musical jargon.

That is, he made arrangements for others,

without ever appearing.

For television,

for movie music.

One of the first was Cicognini,

very good composer who was making a film directed by De Sica.

♪ You are more white than me I am black more than you ♪

♪Ninna nanna♪

That song, that choir, I arranged and directed it.

The master Ennio Morricone.

At RCA, a baritone arrived one day.

He sang songs from the 1930s.

And I hear some extraordinary arrangements.

Maestro Morricone, famous arranger.

And the name of Ennio Morricone came out.

I was called to rescue the failing RCA.

With the "Jar", he saved himself.

You have this sound, which is the sound of a jar.

Everything sounds 60s.

But that jar is a foreign element that has nothing to do with the context.

It is an informational shock for anyone listening to the piece.

Meccia was almost afraid,

but Ennio was already someone who went around looking for jars,

he rolled them.

Get used to melodic music,

how was Italian music up to that moment,

these noises were new.

You used a typewriter as a musical instrument.

Yes exactly.

A well written part, played by a real performer.

"Fins, Rifles and Glasses", we were in the studio with some bath tubs

with water to create the splash effect

who did not come as Ennio wanted.

We tried to put detergents on it, put on blankets,

because he wanted a dip more ...

With water.

Each song had a genius.

He used fusion

trumpets with female voices, and trombones with male voices.

A completely new sound.

There, he revolutionized RCA.

Because the arrangers who were there were a deadly bore.

The director's arrangers were Morricone and Bacalov.

I demanded Morricone because I thought he was more brilliant.

I wasn't wrong.

These things here, very simple,

they made a great success.

Then I played a piano thing.

The dignity of the composer,

that my teacher had taught me,

I felt compelled to insert it

in the simplest, even the lowest profession,

redeeming it with the principles of dodecaphonic music,

transposed into tonal music.

He colored these songs,

it made her become something else.

♪ I am not worthy of you ♪

♪ I don't deserve you anymore ♪

There was counterpoint, inside.

There was no reason to do it, an accompaniment chord was enough.

There was the counterpoint, always.

I think he invented the arrangement.

Until then, the songs accompanied each other.

Before Morricone, there was only one accompaniment.

The orchestra kept to the chords,

to act as a background.

Instead, he started customizing the songs.

I put something higher than the song into the arrangement .

But I didn't think I was the innovator.

I saw him writing while he was talking on the phone.

He wrote the arrangement, the part of the violins, of the trumpets.

And he went on like this, talking on the phone.

He stands up in front of a piano.

Look at the keys and write. He writes the score.

He, the sounds, he imagined them.

Look at the keys and write the notes.

Without playing them, he hears them.

He had music here, inside.

Maestro Ennio Morricone conducts the orchestra .

If you listen, there is also a cunning.

Many arrangements,

immediately, at the beginning, they suggest some very catchy things.

The maestro Ennio Morricone directs.

He made an amazing arrangement for Paul Anka,

with an amazing start.

- Ten seconds that nailed you. - The piece came in and he sang.

Ennio invented musical phrases

that could chase each other continuously.

Which became a trademark of the song.

This gimmick immediately identified the piece.

The greatest artists of the time wanted Morricone.

I also worked with Chet Baker.

He played the trumpet in an extraordinary way.

So dark it looked like a flugelhorn.

My father, at 55, became a bit lacking as a trumpet player.

I didn't call the trumpets in the jobs I did.

Not to offend him.

This was a dramatic moment in the relationship between my father and me.

And my mother said to me: "But why don't you call dad to work?"

And I never told her Dad wasn't a great trumpet player anymore.

And so I no longer even called his colleagues.

I felt I had to do this.

When he died, I started calling the trumpets again.

He thought only of the music.

He was so into the music that the rest didn't matter.

And he was absent. Continuously absent.

He worked miracles for me.

"I am not worthy of you", "On my knees by you",

"If I didn't have you anymore", "The accordion".

The single was a commercial record.

So I was forced to work a lot on the rhythm.

On 33 rpm, very few are sold.

And then there, I could assert some of my ideas.

He could even put in cultured quotes.

In Voice 'and night,

he begins with Beethoven's "In the moonlight" .

It was a nocturne, that of Beethoven,

this to Voce 'e notte also seemed consistent to me.

♪ But then who knows ♪

He made the arrangement of "Ciribiribin" for four pianos.

Usai l'incipit del...

The beginning of the melody,

I took it as a starting point to arrange the whole piece.

That arrangement there was an absolute invention

I remember he once said:

"The arrangement of a song is only one:

what I thought ".

However, he told you why.

And 99 out of 100, it convinced you.

One its cento, no.

Zambrini wrote "On his knees from you".

And he did this first arrangement of my music.

We enter the recording room.

Ennio gets on the podium and starts directing.

And we listen to it.

And I saw that Migliacci, from the recording room,

wrinkled his nose.

It was very sweet.

"And that's not good, we lack a bit of rhythm."

"There must be a momentum in the incident that isn't here."

"And now what do we do?", "We have to do it again."

He did not make a turn.

Then he goes home, he writes.

Friday arrives.

He was already a little nervous.

And, he says: "Try singing live".

And I begin.

And Migliacci on the other side ...

He did not agree.

"Ennio, this doesn't work either. You're always soft."

I told him: "Ennio, you need to do it again."

"But this is a melodic song."

He said: "But we don't dance."

"I don't do it anymore. Have someone else do it!"

"You have to do it, Ennio".

"You make me desperate, just with the anger inside."

In short, it attracts everyone.

Formation of 40, 50 ...

Choristers, eight choristers,

guitarists, keyboardists, pianists, cymbals.

Then he had put on trombones, horns ...

He comes home pissed off black. She writes it.

- The next day ... - He introduces himself.

It's the last one, because I don't have any more.

This is the crap you like.

And he throws it on the table.

"Here you are bullshit."

Get on the podium and start.

I remember very well.

The piano.

The arches.

♪ I want for myself ... ♪

Migliacci did.

"Ennio, this is formidable."

"No, it sucks. I don't like it."

But it was a beautiful thing.

Then he built all his answers on it.

♪Ritornerò♪

♪ On my knees to you ♪

Of course, they made the movie.

And he did the soundtrack.

It was clear that I was a somewhat strange arranger.

Harder.

I saw that his attendance at RCA was thinning out a bit.

Luciano Salce knew me

and called me for The Federal.

It was the first movie I ever made with my name on it.

It was a debut, so to speak.

Duel in Texas, and The Guns Don't Argue

are Ennio Morricone's first westerns.

Both of 1963.

Initially, it is signed with pseudonyms.

Nobody knows that Ennio Morricone is working on these westerns.

Dan Savio was a friend of my wife.

And so I put on Dan Savio.

Ennio does not want to reveal to Petrassi and his colleagues

that he does westerns.

I remember I invented the ride with guitars.

Sergio Leone called me

because he listened to the music of these two westerns.

He came to my house.

He asked me to make his film.

But, I ...

I had seen that face.

And I said: "But are you Leo who was staying with the Dear Ones at school?"

"Yes I am."

"And I'm Ennio Morricone."

They were school friends.

There is a beautiful photograph,

where there are all the schoolchildren with aprons,

and you recognize Sergio Leone and Ennio Morricone.

Two former schoolmates who get together to work.

And they become inseparable.

He took me to see a Japanese movie.

Let me explain that ...

For a fistful of dollars he had something from this movie.

Ennio had written an arrangement for a western record

for an American singer.

I told him: "But let me hear something of yours."

And he had a record, over a baritone voice.

Never had such an arrangement been heard for a western song.

I said to him: "Why don't you find me the base?"

I took the arrangement from scratch, as I had written it.

He invented a new melody.

Made from a whistle.

He calls me and says: "Come and whistle,

I have to do something ".

After I said to him: "Give the soul a whistle!"

And so was born A Fistful of Dollars.

It was truly a turning point.

It was the music of an author outside the choir.

An unprecedented timbre.

Nothing like it has ever been heard.

An electric guitar, whiplash.

The fife.

The anvil, the whistle.

The bell.

He imposed a vocabulary.

It was a culture shock,

for his time.

When Sergio took me in slow motion to see the film,

he had put on the duel between Will and Eastwood

il "Deguello",

the trumpet piece from the movie One Dollar of Honor.

It suited us perfectly.

Leone said to me: "We will leave this piece".

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

that in the main scene of the film you put this piece that exists,

and I do the other side music ".

And I said, "I'm leaving the movie."

Sergio gave up the "Deguello".

But he said to me:

"But make me an imitation. It fits so well."

A song came to mind

that I had written for a television show.

Sung by one of the Peter Sisters,

an alto with a deep, extraordinary voice.

I said: "I'm going to give it to Sergio".

Naturally I instructed Michele Lacerenza, the trumpet player,

to make those flutters of the trumpet.

As in the "Deguello".

To the best music:

Ennio Morricone, For a Fistful of Dollars.

Morricone, sorry, a word.

A little word to Morricone.

- She didn't hope for it on the Silver Ribbon. - No.

- Is this the first time you have been awarded? - Yup.

In the cinema, he often works

- with musical comments? - Yup.

He seemed very young to me.

He had this round face and these glasses

like one of the Peanuts,

Charlie Brown, a grown Linus.

Ennio was present in many of the Italian films.

And I had a lot of fun listening and imagining

how he had worked with the director.

With novice directors I risked bad.

I tried to make different music.

Ennio is reserved, a believer.

In this sense it struck me,

who got very involved in a film, in a certain sense, anti-religious.

I wrote a lullaby, sung by a female voice.

Immersed in even dissonant sounds,

of metallic vibrating surface.

Movies like that, I liked having made them.

Because they weren't as commercial as the others.

Sergio Leone and I went to review For a fistful of dollars.

We confessed that we didn't like it.

I have never loved the music in this film.

I have always encouraged Sergio, in subsequent films, to forget her.

And instead he insisted: "Give me the trumpet, the whistle".

Their relationship is one of friendship,

of complicity,

also made up of discussions.

Also, how to say, violent.

Cut it.

In the scene where Sergio wanted the trumpet,

I had the idea of ​​citing Bach's hit-and-run attack,

the minor king.

The music of his westerns, which he considers elementary,

instead they have a construction,

a wisdom, a premeditated, impressive architecture.

Sergio Leone, just from For a few dollars more,

began to understand the importance of the soundtrack

by Ennio Morricone in his films.

He understood that Maestro Morricone was beginning to have his audience.

After a long time, I met Petrassi and he told me

that he liked my music for the cinema very much.

And he mentioned a movie that I didn't expect.

For a Few Dollars More.

And I was very impressed.

Because I had written better music.

And he said to me: "But, I know that you will recover".

"However, I know you will recover."

I don't think Petrassi appreciated this activity of his.

As for the rest, I did not appreciate him very much.

We were really, in a way,

archaic.

What do you think of the collaboration between composer and director

in film music?

It is a way of working entirely

antiartistico.

The composers who came out of Petrassi's school,

they never frowned upon my profession.

My loan to the cinema.

So this got me a little isolated.

He phoned me once, when he was young,

in a quite touching way.

He said I was a purist and he had cheated.

Back then, he was divided, because the environment forced him.

"Who are you?" Are you this or are you that other?

Ennio, in his own way, suffers from an inferiority complex.

For giving up the composer's purity,

to the Petrassian image.

Which then also Petrassi has betrayed this image more than once.

Petrassi also made soundtracks.

However, while Petrassi never thought that film music was music,

Ennio thinks it is.

Petrassi had no sensitivity,

for what was the peculiarity of Ennio,

this ability to identify with a situation, in an image.

Which he probably didn't have, just as I wouldn't have.

And I think Petrassi was not entirely exempt either

from an inferiority complex.

Lately I also did The Bible,

directed by a certain director called, I think, Huston.

That music that he had written with a lot of effort.

It was practically not accepted by Huston,

because, according to him, it was too difficult.

So I consider the chapter of my cinematographic activity closed.

It almost felt like fate, and unfair, too.

I was called by Dino De Laurentiis ...

to replace my teacher Petrassi.

The music edition was in co-production,

RCA with Dino De Laurentiis.

And Dino said to me: "Make a piece above the creation,

that's how Huston feels it, and if he likes it, you make him the whole movie. "

I simulated the attack of the light.

A trickle of water, which then widened and swelled.

And then it would burst into the fire.

Then about the animals, the birds ...

All this dynamism. Then it resumed again.

Maria went to a synagogue

and he took some ancient Hebrew texts that Ennio set to music.

Huston came several times. De Laurentiis came several times.

They all seemed very happy.

I got the job.

At that point, De Laurentiis said: "What do we care about the RCA.

You make his film with me and that's it ".

And I say: "Sorry, I have exclusive rights with the RCA,

I can't do this rudeness. "

I went to the RCA and talked to the president.

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

Let me do The Bible. "

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

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

Despite everything, Petrassi is very clear.

He says that writing for the cinema, for commercial music,

equivalent, for an academic musician, to prostitution.

So it is morally condemned.

Guilty.

Guilty.

At first I felt guilty,

but slowly I redeemed this position.

Writing, I wanted a rematch.

Win...

on this...

guilt.

Gillo Pontecorvo wanted to meet me.

I, such an important director, did not expect it.

I was intimidated because I felt that this one was different from the others.

He was already a very strong one.

And I wrote this piece.

It was one of my variations on the Frescobaldi theme.

There were three sounds, A , B flat and B natural.

And then the opposite motion: F sharp, F natural, mi.

Here are the teachings.

I am made of all the music I have studied.

A little further to your left.

Pasolini had a list of records that I had to put in the film.

He said to him, "Then, master,

I would like this Bach thing to come in here. "

I told him: "Sorry, but I'm a composer who writes music,

not that he takes other people's music and puts it on the film.

This is not possible.

I have to refuse ".

And he said to me: "Then do what you want."

I wrote this rhyme,

between the serious and the humorous.

At a certain point c'era: "Ennio Morricone musicò"

and I sang, I sang so to speak.

A laugh.

Up until that moment Pasolini had only had Bach as a musician.

Then it passed to Morricone.

The music of Sergio Leone's first films,

it seemed less than my means

because I was a slave to Sergio's vices,

so I invented the theme that was the coyote verse then.

And I see ...

There is the dramatic and the funny, and he liked it very much.

Let's immediately focus on the character of Ennio Morricone.

Ennio, you realize that yours is a more unique than rare case.

You have made two best sellers in two years ,

two discs with movie soundtracks

which were two sensational, incredible successes.

It was a lucky case.

Not so. You are good, you are good you are.

I was going to spy,

I corrupted the projectionist,

I went to the cubist and tried to look at his scores.

And following him work, she is an artist who has never pursued success.

This is Maestro Morricone.

The face may not tell you much, but the name certainly does.

Morricone specialized in music for western films.

Of course at that time all the westerns came to me,

and I had to do them, because this was my momentary destiny.

The funny thing about Ennio,

you made a movie, you show them.

The first viewing he sees of the film, he falls asleep.

He falls asleep like the gunmen of the west did,

which seems to be asleep, but they shot you before you.

He had seen it anyway, he knew it anyway,

already the things he mentioned were already spot on.

The great silence of Sergio Corbucci

it all took place in the snow.

The horses galloped and made no noise.

The protagonist was mute.

Corbucci told me:

"This is the most beautiful music you have made for me."

I said: "Thanks Sergio, it's because you hear it."

In cinema, mixing sounds without balance

can become a damage to the film and music,

which is an abstract element added to the film that you might not even add.

But when we want to hear it, then it is necessary to let it go.

There was a time when I was trying to reduce the sounds

to communicate something memorable to the public.

One of the first ideas came to my mind as I went to pay for the gas.

It was the song "If phoning"

that Mina had asked me,

and there I experienced the three sounds for the first time.

They were three and in a four quarter time.

The tonic accent never occurs on the same sound.

It was a very important discovery for tonal music,

because it implicitly became even more catchy.

See that's another note?

The note...

It always happens here, but they are different at every joke.

He was able to repeat the same thing and not make it weigh.

I have never abandoned the experience of the few sounds,

because I've always liked a little fun.

Ennio on the floor tells me:

"Now I'll let you listen to the two themes that cross each other."

Often times I find myself writing two themes without realizing it,

one theme within another.

To give it a variety, an ease.

And he made me feel two crossed tami.

I'm not ashamed to say that I didn't like that theme.

I told director Peppino Patroni Griffi:

"I would discard this. Be patient, listen to me."

And he said, "But you're crazy."

Put one evening to dinner I find it brilliant.

This, don don don ...

because it is also minimalist, what is fashionable today in music.

Peppino was right,

because I am not a good judge of the subjects I write.

For this reason, from that moment on,

all the themes I wrote I played them first to my wife.

If she liked them, I played them for the director.

Directors listen to the pieces my wife likes.

I remember Ennio as a not only one.

There was Ennio with Maria.

This woman who was a mother, wife, life partner,

but who watched over his talent in an extraordinary way.

Because there is a renunciation. That is her for love, for ...

It's your first round of applause, Maria.

As a simple people, she gives me a sincere opinion

and so I have been going on like this for years.

You have created a perimeter of defense,

so that the genius of Ennio Morricone was free.

I have always wondered how Ennio could make him live together

the film musician and the experimental musician.

When I write for the cinema I am a composer.

When I write for myself my ideas are another,

so I become such a diverse and self-contrary composer ,

so I have a double face.

"Sounds for Dino", written by Ennio Morricone

for Dino Asciolla and tape recorder,

musically interprets the author's thought

on the disturbing problems debating today's society.

They interviewed him: "How is it possible that anyone who makes music for spaghetti westerns

can he have this nature of an experimenter? "

Experimental music has never abandoned her,

even trying to insert it in the cinema.

When Elio Petri met me for the first time he told me:

"I only work with composers once,

so you know that this is the first and last film we do together. "

I made a very difficult music,

but there was a leading painter who had an existential bewilderment

and it seemed right to call the improvisation group "Nuova consonanza",

where I used to play

and then use my previous composition for eleven violins,

to which I added a percussion and a woman's voice.

We improvised in front of the film in sync with the dreams of the mad painter,

so the colors that spilled, the boards that fell down,

and therefore the music somehow replaced the noises.

The film was highly praised by the press, the music too,

but the film went awful.

I felt guilty about this failure.

At a concert in Florence, a stage servant took the stage,

he took a ladder and began to shake it.

Dry wood made ...

After ten minutes that man got out, left, the concert was over.

I told it to Sergio,

and Sergio understood.

The first twenty minutes of Once upon a time in the west is concrete music.

It was the result of the Florence tale.

The noises were music in some way.

Play more harmonica than that character speaks,

so it is a rumor.

To entrust so much of that character to Ennio was to put oneself in his hands,

and it is no coincidence that my father has never worked with another musician,

It is extraordinarily seductive music.

It is a music that seduces you, envelops you,

it stays in your head.

They gave me music and I immediately read and interpreted.

It's not like I tried it before.

I heard it was a beautiful melody,

A music that we have been listening to all our lives.

It has become part of our daily fabric.

The voices, the sounds, the noises,

the color, the timbre, the short sentences.

Ennio uses them for what they are.

Notes are like the material for making a palace.

Bricks are the same for all buildings,

but the buildings are not the same.

The bricks with which he builds his cathedrals.

I didn't want to be categorized as a western-only composer.

Lattuada encouraged me to make absolute symphonic music.

They are all divided violins, then all the bows, but above all the violins.

And I ventured a truly symphonic music.

Actually my most difficult piece was another.

The Sicilian Clan theme was a huge effort.

There is the first exposure of the main theme,

and above I put the name of Bach as a second counterpoint.

B means B flat, A means A, C means Do, H means natural Yes.

That is, Bach.

He made a counterpoint that he managed to put together,

each with an individual voice, drums, double bass

and all the instruments that gradually enter.

Si, La, Do, Si.

This is Bach's name, I put it in another order.

La, Do, Si, Si, La.

And under...

Then the curious thing.

On the theme that supported Bach's name there is a Sicilian theme.

Apparently it looks like a piece like ...

But no, there is a mountain of knowledge underneath.

All composers have been fascinated by this BACH,

but that doesn't matter.

Notes are no longer important now.

Important is what the composer makes them become.

I nomi, I nomi!

I had edited the music for I cannibali by Liliana Cavani.

In the same factory Gillo assembled "Queimada",

and he heard a chorus from afar.

In the absence of Liliana Cavani he went to Liliana's slow motion

and took the tape of that piece,

He set it up on the beach scene and it fit perfectly.

This music put in contact with the film

it seemed to me a secular hymn to freedom.

There was some kind of quarrel between him and me.

He demanded that I remove that piece there from Liliana Cavani

and put it in Queimada.

Exhausted, he said, "Oh well, then do something like that to me."

I realized, when I saw Pontecorvo's film,

that the theme was that of The Cannibals.

It was clear that they were alike, they were different but similar.

I was between two fires.

The human voice has enormous magic

because it comes out of our body,

it doesn't need another tool.

In the late 1960s,

Ennio Morricone becomes a guarantee for producers and directors.

In 1969 alone, 21 films with music by him were distributed.

Ennio's enormous success makes him the object of envy.

Not only were they envious, they copied as well.

Envy then also becomes slander.

"You've made 18 films in a year, but how is that possible?

But you didn't make them. "

He sat like this,

he seemed to be writing a letter about how quick he was at writing music.

There was a clarity of ideas when he imagined music.

It was clear, it was simple.

How many music has he composed?

How many music have you composed.

I didn't count them.

He didn't count them.

With Elio Petri I was sure that we no longer did anything together,

then instead he called me for all the following films.

For "L'Indagine" I wrote a small arpeggio.

During the mixing Elio called me and showed me the whole first part.

I said: "But Elio, what is this stuff?"

He had changed the music.

He had put on the music of a hideous movie I had made years ago.

Elio used to tell me: "It's fantastic.

Look there the Bolkan about to be killed,

look how this choir works. "

There was Ruggero Mastroianni, the editor, who was on my left.

He says to me: "Ennio, don't you realize that she is extraordinary?"

Elio who continued.

And I say: "Sorry, but is it possible that you like what is on this scene?

But what's that got to do with it? "

Gradually there was my absolute surrender.

I told him: "Do as you please."

The light went on,

Elio said something that I remember with emotion,

"You made the best music I could imagine.

You should slap me. "

A brilliant invention that brings together

all that Ennio had done until then

and that projects him into what he will do

is the music of Investigation of a Citizen.

Investigation traumatized me in the truest sense of the word.

I mean, it made me realize that you could write very different music

from what Morricone himself had proposed up to that moment.

I remember the music more than the film.

Indeed, the music in those cases is the driving force of the film.

He invented a musical format which is cinema music.

Perhaps the inventor of cinema music.

How are you gonna kill me this time?

I'll slit your throat.

This music pleased Kubrick who called me for A Clockwork Orange.

He liked that music so much that he wanted me to imitate myself again.

We agreed on everything,

but Kubrick telephoned Leone,

Sergio told him that I couldn't because I was working.

But it wasn't true. I was at the mixing of Giù la testa.

The music was over.

Kubrick gave up on me without even calling me again.

It's the only regret I have about a film that I practically didn't make.

One two, one two three four.

I dreamed now comes the Morricone theme.

Great, my mom.

Instead, there were four in the recording studio.

Pass the ring and he said ...

And he gave disposition, then he records.

Ennio had developed these multiple scores

and experiences them in thrillers of a certain type.

He immediately looked at me fiercely

and said, "What are those?"

I tell him: "They are records, I didn't think, in case we could be inspired ..."

"Throw those records away."

Come on, open up!

I experienced a type of writing that I had never done before.

He wrote music in the score, in strips.

The musicians in the hall improvised on the scheme that Ennio gave,

who played the trumpet ...

Depending on what was going on in the scene

he indicated the number of the strip to play

to that particular musician.

So I attack him, then I attack her too,

whoever plays must always be with the instrument ready

to attack, because he does not expect it, it is not written.

So much so that when a director told me: "This is good",

I couldn't make it the same.

All this allowed me to do unexpected things in cinema.

After the third film, Salvatore, Dario's father,

he came up to me and said, "But you're making all the music all the same."

He says: "There are three films you make me the same music."

It wasn't true.

Ennio defended himself and said: "No, I don't make the same music."

But it looked the same.

Because dissonant music makes the senses lose their balance.

but I applied that idea to other films

and I even reached the twenty-third multiple.

And maybe at some point he will have exaggerated even a little.

It begins to have the first rejections, the first warnings.

"Ennio, if you keep writing like this they won't call you anymore."

It is clear that I changed the way of writing.

Morricone was already a myth.

Joan Baez was one of the great symbols of young American life.

Ennio speaks English, so to speak,

and Baez speaks Italian, so to speak,

but music is a universal language.

He sang on a drums and a makeshift piano,

then I overlaid the orchestra on his voice .

And she said to me:

"Nobody in the world, not knowing me directly,

he could have written exactly

the maximum of my possibilities of extension of the voice. "

And she said, "It's a miracle."

The song shot to hit songs,

of which we continually ask ourselves : "But why?

But how was it possible? "

May my melodies be successful

it does not mean that my thinking against the traditional melody was wrong.

I think the melodic combinations are exhausted.

Ennio Morricone theoretically does not like melody. He said it.

But he is a musician who has a powerful melodic vein,

that the more he covers it, the more it comes out.

The melody? One who does it so well cannot despise it.

He lies.

But maybe, in this one that we could,

in many quotes, call composer schizophrenia,

that's where that totally different spark strikes.

The rigor applied to creation is a rule he has,

and the fact that he is a chess player confirms it.

That is, his is a mathematical world, a geometric world.

I would say an almost transcendental, spiritual approach.

His most impactful pieces of music are played

on an exhausting tension,

whose resolution is an almost ecstatic moment for the viewer.

I myself found myself having to give up analytic listening

and simply abandon me.

His music makes us feel that this thing was written for me, in secret.

I always have music in my head, something that I'll have to write later.

An idea seems interesting to me, important.

So I often turn out, even a taciturn, one who does not speak.

He is a person of extreme shyness

and an abysmal determination.

So talk about the music with him

it means speaking to the abyss within.

He believes in his music,

who is never the handmaid of the image.

In fact, Ennio says: "I am like a chameleon,

color change according to the director I work with,

but I'm still me. "

I think he has always tried to understand

the director in front of him,

and then work on his soul.

In this sense Ennio was also a good psychologist,

why be able to juggle with such complex personalities

and sometimes so disturbed means being a good psychologist.

If ten good composers,

consulting the director himself,

they write the music for the same film,

they will write completely different music.

The drama of this reasoning

is how difficult it is to write music for the cinema.

Because if there are many solutions,

the composer's difficulty is that of ...

What is the best, the most right music?

This is the torment of a composer.

For Allonsanfan we said: "Ennio, there is the final ballet.

We have to take the music with us. "

And he gave us the accompaniment.

And we liked it to death.

So for us that was the music of ballet.

And they turned with this rhythm.

When we edit a movie,

we can't go on if we don't have the music.

And we put together the most disparate music,

the musicians in contradiction with each other.

Ennio came to see the assembly and said: "Very nice.

But what am I doing here? ".

And he went away.

Imitate the music of others.

Do not think with my head I did not like.

I never liked these things.

We rushed down the stairs.

"No, you have to do it."

"I don't, I don't."

Then in the end I agreed to do it, but I said: "I make the music."

When we're in the recording room, at the final ballet,

Ennio says: "I have prepared the melody above for you."

"No!

We don't want the melody, it's so beautiful as it is, Ennio. "

"Ascoltate."

We jumped on him, because he was even more beautiful.

Check all the director, the script,

the scenography, the costumes, the acting, the lights, the framing.

Music doesn't.

He would sit at the piano and make the melody with his voice.

It is a rumor, surely my voice is not beautiful.

He made me hear some music on the piano,

I didn't understand anything.

The director could not have known the equipment I was making.

I did not allow myself to doubt what Morricone improvised on the piano,

knowing that that sound there would be strings, winds.

It is not possible for the director to understand the final result from a story.

Music is not told. Music must be listened to.

There are films that immediately give me the idea

to write a certain music of a certain type.

During the first screening of Novecento, work copy,

Ennio immediately started writing the essay.

In the dark, I accidentally had a piece of paper and wrote notes.

This I wrote.

It seemed that he had made a parallel film with music.

Bertolucci Ennio moves within the music.

There's nothing he can't give you.

If while he is recording you tell him:

"Why don't you try to turn this into a Verdi piece?",

his talent is immediate, it gushes.

Do you immediately know how to do that piece like Verdi and you ask yourself "In what opera is it"?

In any work.

It's Ennio.

Twentieth century had very heavy criticisms

and some also criticized the music very much.

He called me Zurlini and told me:

"I write the article in your defense."

It was a beautiful thing of him.

Tartars are youthful dreams that are lost.

Zurlini wanted to hear the themes and I did, on the piano:

And he says to me: "Enough, that's fine."

Incredible not knowing the continuation of the theme,

not even the orchestration, he knew nothing.

But when a director trusts, he trusts.

Farewell, Tronk.

I made up the piece with the five war horns

that made one think of an army that was about to arrive

and that it did not arrive.

The last time I played the trumpet

it was when Gillo Pontecorvo got married in the Capitol.

He told me to play the wedding march.

I took the trumpet, which I was no longer trained,

and I did ...

With the storm

He was delighted.

For me Terrence Malick was an important director.

I went to see the film and, returning to Italy, wrote 18 ideas.

When we analyzed the film,

he made me do a very important piece for me.

It was a kind of fire sound.

Little boy!

With no director I have had an intense epistolary relationship as with him.

The musician in the cinema must know how to do everything,

from symphony to song.

Look honey, let's see, did you do everything you had to do?

Sergio Leone produced my first films.

During the preparation of A Beautiful Lot, Leone said:

"You should do something like Titina,

but sweeter, more Chaplinian. "

Morricone said: "Listen, the best thing is that you give me this script,

I read it, I get an idea. "

Master what do you want me to do?

Lui rispose: "Love, love, love".

Two days later we returned.

Morricone played five, six notes.

Leone said to Morricone:

"Did you see that I gave you a good tip?"

"But that's the Titina, but what does the Titina have to do with this?"

"No, but we're there, over there."

Once Morricone arrived and Leone said:

"I would like to put that pan flute on the film."

Morricone said: "We will put it in the right place, Sergio.

You can't put the pan flute on everything. "

"But the pan flute is ..."

"I'll take care of the pan flute to put it right."

The complicity of Ennio and Sergio was in life.

Sergio went to tell him about the films he wanted to write.

The first agreement with Sergio was reached when he told the film.

And he told me very carefully, even explaining the shots.

I think dad was addicted to Ennio's music.

And he wanted his films to depend on music.

The music in Dad's movies was actually more than just movie music.

It was basically the dialogue of the film.

Sergio often committed me to writing musical themes

before he started spinning.

I remember Ennio,

who played the music of Once Upon a Time in America

several years ahead of the movie.

During those years, Sergio lived with great doubts

and every now and then he would ask me: "Let me hear the other theme."

It was a theme made up of silences, pauses, things that I loved very much.

It is a theme that I had written in America

for love without end by Zeffirelli.

On a certain scene, he said to me:

"Here is a song written by another composer".

Then I refused to make that film, because there was another song.

And it doesn't suit me.

Dad often asked Ennio to bring him the discarded themes as well.

The ones he had in the drawer.

He made him listen to the theme of Zeffirelli.

Which became Deborah's theme.

He liked it very much.

And I must say that I still like it too.

Without that music ...

I imagine it just like that.

If you were to see the image without hearing that music ...

Leone wanted Ennio's music to resonate during filming.

That the loudspeakers even spread Ennio's music.

The actors turned to the background music.

Morricone's music arrived on the set .

It was a blow.

Motor.

Ready, take it, 144, 18 before.

Bobby.

This music thing, it hit everyone.

It hit the actors, it hit the crew.

You had the feeling that you were already,

I'm not saying to see the film, but to hear it, yes.

Actors also from the class of De Niro,

who are very attentive to direct access,

in front of acting out a certain scene

with the music underneath, they told me: "I care about music and this helps me".

Hey!

In the field of high-educated music

Ennio Morricone

it was a name that went around but aroused no particular interest.

But that was the short-sighted world.

The great academic musicians of the generation that preceded him

they struggled a lot to recognize Ennio Morricone's talent.

The definitive revelation was Once Upon a Time in America.

That music cannot be written by someone who is not deeply a musician.

Here his music interested me on a higher level.

It is a music that does not pass superficially on things.

But it enters inside, indeed it creates them.

And when I understood this, then I also understood Morricone.

Cousin No.

Boris Porena had written an apology letter.

But it was no excuse to Morricone. They were excuses to a historical period,

to himself.

For not having been able to grasp

for being so blind, so deaf

in the face of the power of ideology.

He belonged to another world.

and had snubbed him.

It must have been some time before many of them,

bow to this genius.

When I read this letter to Ennio

he stood up and was crying. Freed, in a way.

I remember when he came out of the screening,

I said, "Damn there is something here

that goes beyond what we think film music is ".

I was saddened by the massacre of the Indians and the Jesuits.

But the film was so beautiful, without music.

I could only ruin it.

"You don't need music for this movie.

No, impossible! "

The Mission comes at a moment in Ennio's life

in which he had decided to leave cinema music.

And this film comes a little off guard

in his existential decision.

"I thought...

I have a little idea. "

My behavior in writing Mission was strange.

I almost didn't control it.

I wrote this music without controlling myself.

For a piece of absolute music,

Ennio could write even a year.

And a score like that of Mission, two months.

Here, this is another of Ennio's secret chambers.

We are faced with something particularly phenomenal.

I was the first to write the theme of the oboe.

But as the film takes place in 1750

I was also influenced by the events of the time.

The double bite, the double group

the cueing, the apposition. All these elements

enrichment of the melody.

Bite ...

Acciaccatura ...

Bitters.

And then, it seemed right,

impose a motet on the film.

Following the rules of the Second Vatican Council.

And then...

the ethnic theme of the Indians.

A primitive music.

And therefore within the motet,

I wrote another essay.

Rhythmic.

The extraordinary thing,

is that the theme of the oboe

I combined it with the motet.

The motet theme was combined with the ethnic part.

The ethnic part was combinable with the oboe theme.

That is, the three themes were combinable all together.

All of this happened without wanting to.

Almost as if there was something

to suggest it to me. The music, his logic.

Herbie Hancock.

Good Jazz player, good composer, good pianist. I don't argue about this.

But the protagonist played already existing pieces.

So the music was half of the repertoire

and it was not supposed to be in the original music category.

Indeed, at that moment at the proclamation of the Oscar

the hall protested.

I left quickly.

He was the best. They all knew he was the best,

was number one.

He didn't get the accolades he deserved.

Because deep down they didn't understand it.

She alternates film music

with compositions of chamber music.

It has been a while since I resumed stepping up this activity.

I had left it out for the cinema but now I have started again.

Also because I don't want to die just working for the cinema.

For some years he has been working as a composer of cultured music.

With compositions of a very good value

of a very good artistic level.

Petrassi was in the front row at an Ennio concert .

And in seeing Ennio respectful

of his teacher.

You understood that the umbilical cord never came off.

When the producer Franco Cristaldi called Ennio,

to propose New Cinema Paradiso

at first he said no.

Franco called me back shortly after. He said to me, "Read the script,

and then you will tell me ".

The house phone rang.

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

Nail.

I went there, very excited.

He asked me if I wanted Sicilian, folkloric music.

I didn't think of stuff like that.

Then he looked at me,

and he said to me: "I make the film".

It was Cinema Paradiso.

And I did it with great joy.

It was a life lesson.

Because Ennio treated me as an equal, and I was just a rookie.

While he had already made 350 of his 500 films.

The more he tried to distance himself from the cinema, the more the cinema pursued him.

For the Untouchables,

I wrote all the themes in New York and De Palma was always enthusiastic.

The last day when we were supposed to say goodbye

he surprises me and tells me: "The theme of the police triumph is missing".

I say: "I will write them in Rome and then I will send them to you".

I sent him nine themes. With a letter from me that said:

"Please don't choose number six.

Because really that's what I like least. "

Who chooses? The six.

The greatness of Ennio is given

not just from the music he writes for a given scene.

But also because of the approach he has to the scene.

When it represents violence, it does not go in unison with the image.

But it totally detaches itself.

Its ability is to take you from another point of view.

The scene at the station, at one point I started a waltz.

This music box waltz gave me the chance

to change the trend a little

so tense of the scene.

De Palma disagreed.

But, as happens to so many directors, he accepted it.

A few months later I received a statement from him in a newspaper,

that my choice was right.

And he had it ...

criticized.

Giving me great satisfaction and great professional honesty.

Ennio Morricone was nominated for the third time

for this latest film by De Palma.

- Does it excite you Maestro? - That doesn't move me that much anymore.

At the third time I got used to it,

especially since I am sure I will not take it.

Why do I like chess?

Because they teach the fight of life.

The sense of resistance.

The desire to improve.

Resistance to contrary things such as those of the opponent.

That tries to win and I try to win.

In a non-bloody way.

He wanted me to do the same thing again.

The problem is that he has respect for us directors and editors

an interpretative capacity of cinema more interesting than us.

Find an idea right away

it means that she is clinging to the film.

With images there is a real wedding,

like love at first sight. Sometimes this has not happened.

And it made me suffer a lot.

At the time of Sosegue Pereira, he was quite in crisis on this film.

Ennio says: "I didn't know where to turn around to find an idea"

One day, right under Ennio's house,

there was a demonstration with some boys beating the drums.

There was a strike and I heard the famous percussion.

I took this rhythm and used it throughout the film.

Listen boy, sit down.

The Ten Commandments don't say it.

But I say it.

The reasons of the heart,

are the most important.

He takes up the rhythmic formula of '68.

"It's only a beginning Let's keep fighting",

transforms it into the skeleton of the musical part.

And it becomes Pereira's determination.

The rhythmic one

gave him the input to make a music

that it had something revolutionary inside .

I told him: "I would like a vintage song", which I had found.

There was a breakup.

But he is right. He had made a wonderful song.

In my opinion, a score must have a meaning in itself.

To do a fair service to the film to which it is applied.

To the sessions with the orchestra

he came to the control room and threw himself on this sofa.

And he could sleep 20 seconds, like Napoleon.

"Do not disturb the Master, he sleeps".

In 20 seconds he was ready, and he was back there.

To lead like a lion.

For The Pianist on the Ocean

he began composing the themes while I was writing the script.

We went hand in hand and constantly confronted each other.

Even during filming.

It was as if, for some mysterious reason,

Ennio recognized himself in the character of the young pianist

that for nothing in the world he would abandon the ship of his music.

In the wake of the commotion in New York Ennio Morricone composed

the symphony of Ennio Morricone dedicated to the tragedy of 11 September 2001

It was a composition born under the impression

tragic of the assault on the Twin Towers.

In memory of all the massacres of human history.

A great orchestra,

a choir, one who recites

and these ethnic music tapes.

See how many disciplines are together.

Hearing that music, I felt on me

everything we had seen in our homes

during what had happened in New York.

He knows how to express, from within himself,

the feelings he feels, through the pentagram.

Like no one, in my opinion.

I don't regret writing cinema music.

If anything, I got there little by little

to have convergences between absolute music and cinema music.

One has infected the other.

These convergences, even of concept

they are fundamental and important to my life.

At a certain point

the two souls met.

I want to thank the Academy

for this honor he did me.

By giving me this coveted award.

I dedicate this Oscar to my wife Maria who loves me very much.

That has been close to me all these years.

And I love her the same way.

This award is also for her.

Alla Royal Albert Hall in London

as soon as he entered the scene, the whole audience stood up

and gave him a very long applause.

One thing to crawl your skin.

It is an honor for Italy in the world.

Truly a giant, an extraordinary artist.

The teacher

Ennio Morricone.

Ennio!

Ennio!

There really is no place in the world,

from South America, to Asia,

not to mention Europe,

where he is not welcomed in a way ...

huge, from the pop star.

I remember one of his film music concerts in Paris

with the public in a frenzy.

When I went to the dressing room, I came to tell him:

"Ennio, you are convinced that this

is the great music of the 1900s, Tout court? "

And he said to me: "I'm thinking about it".

At first I thought that music applied to cinema was a humiliation.

Then little by little, no.

Indeed, today I think the music of the cinema

it is fully contemporary music.

It was a turning point of maturity, he found you

an impressive artistic youth.

And he convinced me.

He brings his musical loves with him.

Like the beginning of the fugue from Stravinsky's "The Symphony of the Psalms".

Tarantino obviously went crazy for the films of Leone,

so he was probably expecting a completely different music.

What could I have written not wanting to tread the road already made?

I wrote a symphony, a real symphony.

Morricone was a good chess player, he brought Tarantino to his own land.

I felt like I was taking revenge on the western film

to cut short with the past.

Tarantino is hyperbolic.

The answer was given to him by Ennio.

To determine if one is Mozart or Beehtoven, 200 years must pass.

When you open a Beethoven page,

maybe you don't know how to play it.

But the writing is clear.

In Ennio, everything is clear.

Chopin, Tchaikovsky have such a long duration.

And why not, Ennio Morricone's film music?

I agree with Tarantino.

I believe he has achieved an extraordinary position.

For his ability to look back, and his ability to look forward.

To music as it was, and to music as it will be.

He taught us how to live with your own legend.

Something extraordinary happened to him

to be recognized already as a world Master

in the midst of his creativity,

and that made him a happy composer.

It deserves that and more.

Because he is hardworking, he is a great musician.

Without being an artist.

We had gone to do some concerts. He was shocked that in Israel

the passport man knew him.

He is not one who gets to his head,

but now it looks like some kind of icon.

It is so readable to the people.

To people around the world.

Many bands use my music.

But then they also use

small themes within their creations.

I believe he has always been ahead in language.

Indeed, the language dictated it.

And therefore it can only be seen as a precursor.

It is the precursor of transversality.

Ennio's music also engages kids.

He is honest.

To recreate the color he wanted,

certain sounds have been reproduced, sampled,

used in various records by pop and rock artists.

They do not deny their personality, in this mysterious sympathy

they have for some of my things.

Without Ennio Morricone,

many of us wouldn't be there.

Linguistically they would be a different thing, a poorer thing.

His is a silent lesson. Nobody ever went to Ennio's class.

When you hear a lot of music, you always find something that looks like Ennio.

Someone who has used bows as he does.

The piano as he uses it. But it's not him.

He is the music.

The music that comes out anyway. Whatever he writes.

Even independently perhaps of his conscience.

When I made the first movie it was '61,

I said to my wife: "In 1970 I stop making films".

Then in 1970 I said: "I'll quit in 1980".

In 1980 I said: "I'll quit in 1990".

In 1990 I said: "I'll stop in 2000".

Now I don't say anything anymore.

Ennio managed to fuse them together

prose and poetry.

It completely upset the pattern.

Normality that becomes exceptionality.

Ennio almost always has an elevation. One thing that makes you think,

makes you stay in the air.

The god of music speaks through him as if he were possessed.

His music is eternal.

When you begin to describe it, you realize that your whole life is not enough for you.

It will go down in history

and there will always be Ennio's music.

It is part of our family.

It is like a relative.

Music must be thought before it is written.

It is a problem.

It is a problem that always remains when starting a composition.

And the composer has a blank page in front of it.

What do we put in front of us

to that page?

What do we put on it?

Here, there is a thought

that must be developed

and must go on.

Looking for what?