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Downloaded from
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Clapperboard, please.
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00:01:24,520 --> 00:01:26,960
Serata America,
interview with Leone.
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00:01:27,040 --> 00:01:28,280
One, first.
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00:01:28,880 --> 00:01:32,000
One moment. Good.
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00:01:34,880 --> 00:01:39,800
Cinema for me is
above all a big show
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00:01:39,880 --> 00:01:44,480
where events of the masked life
are proposed.
9
00:01:52,880 --> 00:01:55,560
It is a vehicle for recounting
one’s own experiences
10
00:01:55,640 --> 00:01:58,640
historical,
or psychological experiences
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00:02:00,640 --> 00:02:02,840
always through
the fable and the myth
12
00:02:02,920 --> 00:02:04,560
through the show.
13
00:02:11,240 --> 00:02:12,960
I was born in cinema.
14
00:02:13,040 --> 00:02:17,040
I live on cinema,
I read cinema, I see cinema.
15
00:02:17,120 --> 00:02:19,680
For me,
cinema is life and vice versa.
16
00:02:23,080 --> 00:02:28,880
How can one forget
the world of childhood?
17
00:02:30,240 --> 00:02:32,960
All my films are permeated
with these feelings
18
00:02:33,040 --> 00:02:35,560
from "A fistful of dollars" to
"Once upon a time in the west".
19
00:02:35,640 --> 00:02:40,600
After all, in my films,
the world is judged by children.
20
00:03:10,360 --> 00:03:13,440
Do you see
those little pillars up there?
21
00:03:13,520 --> 00:03:14,680
They didn't used to be there.
22
00:03:15,080 --> 00:03:17,280
Instead of columns,
there were us
23
00:03:18,960 --> 00:03:21,880
10- to 12-year-old boys
with big paddles
24
00:03:21,960 --> 00:03:26,240
coming down like Taboga
at 50 to 60 kilometers per hour.
25
00:03:26,320 --> 00:03:30,720
A blue avalanche finding
down then unwelcome guests.
26
00:03:30,800 --> 00:03:32,920
The neighborhood was swarming
with Germans.
27
00:03:33,000 --> 00:03:36,240
This is '42/'45.
My first western.
28
00:05:20,200 --> 00:05:23,400
I can say that I was born
almost on a movie set
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00:05:23,520 --> 00:05:26,840
because my mother was
a young actress with Galli.
30
00:05:27,720 --> 00:05:28,920
When I was a child
31
00:05:29,000 --> 00:05:31,120
my father was making
his last film
32
00:05:31,200 --> 00:05:34,080
after many years of absence
due to fascism.
33
00:05:34,160 --> 00:05:35,920
He was an anti-fascist
34
00:05:36,000 --> 00:05:37,920
and therefore was
politically persecuted.
35
00:05:54,720 --> 00:05:57,520
He was the favorite director
of Francesca Bertini
36
00:05:57,560 --> 00:05:59,840
who was the star
of Italian cinema
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00:05:59,920 --> 00:06:01,800
and for a few years
the star of world cinema.
38
00:06:01,880 --> 00:06:07,520
He direct Bice Waleran
who would later become his wife
39
00:06:07,600 --> 00:06:10,200
also a great silent film diva.
40
00:06:10,280 --> 00:06:12,760
When Italian cinema
began to go into crisis
41
00:06:12,840 --> 00:06:16,600
Vincenzo Leone
or Roberto Roberti directed
42
00:06:16,680 --> 00:06:19,400
some of the most spectacular
Italian films of the 1920s
43
00:06:19,480 --> 00:06:20,800
such as "Fra' Diavolo".
44
00:06:22,440 --> 00:06:26,280
Vincenzo Leone wanted
to make a popular cinema
45
00:06:26,360 --> 00:06:30,840
accessible to everyone
and ennobled by that.
46
00:06:30,920 --> 00:06:32,280
I have the impression
47
00:06:32,360 --> 00:06:39,120
that Sergio walked
on the same path of his father.
48
00:06:39,200 --> 00:06:41,960
The only time I saw Sergio
on the brink of speaking
49
00:06:42,040 --> 00:06:43,160
in tears
50
00:06:43,240 --> 00:06:44,760
was when he was talking
about his father.
51
00:06:48,520 --> 00:06:54,280
A film festival of old
Italian films was taking place.
52
00:06:54,360 --> 00:06:58,320
One of his father's movie
was playing in another room.
53
00:06:58,400 --> 00:07:00,040
He left the room,
he went to see his father's film
54
00:07:00,120 --> 00:07:01,240
and didn't want to talk
afterwards.
55
00:07:01,320 --> 00:07:02,440
He left in tears.
56
00:07:04,720 --> 00:07:08,440
I was born
with my father's frustration
57
00:07:08,520 --> 00:07:10,600
of not doing
what he wanted to do
58
00:07:10,680 --> 00:07:12,480
however, living on cinema
from morning to night
59
00:07:12,560 --> 00:07:16,280
talking about movies,
he would vent to me.
60
00:07:17,760 --> 00:07:21,040
So, when I turned 14, at first
61
00:07:21,120 --> 00:07:26,560
I had a total aversion
to this environment, this craft.
62
00:07:27,600 --> 00:07:31,560
When my father decided to retire
63
00:07:31,640 --> 00:07:36,320
to the hometown of Torrella
dei Lombardi in Irpinia
64
00:07:36,400 --> 00:07:41,360
I strangely felt a great urge
to continue what he was doing.
65
00:07:41,440 --> 00:07:46,600
It came upon me
almost as an obligation.
66
00:08:01,720 --> 00:08:05,800
THE COLOSSUS OF RHODES
67
00:08:07,120 --> 00:08:13,200
He understood
that his way was the epic film
68
00:08:13,280 --> 00:08:17,080
the movies about
the absolute hero protagonist.
69
00:08:20,920 --> 00:08:23,920
I want to debunk a concept.
70
00:08:24,000 --> 00:08:27,960
"The Colossus of Rhodes"
is an ironic film.
71
00:08:29,400 --> 00:08:32,080
The character is a playboy.
72
00:08:34,840 --> 00:08:38,120
- What is this perfume?
- Roses, my grandson.
73
00:08:38,680 --> 00:08:40,960
Rhodes is also the island of roses.
74
00:08:41,040 --> 00:08:42,880
And of beautiful women, I see.
75
00:08:42,960 --> 00:08:44,920
From the set photos we have
76
00:08:45,000 --> 00:08:48,160
we can see he's already
the master of the set.
77
00:08:54,160 --> 00:08:57,720
I really dictated
the epic comedy genre.
78
00:10:45,840 --> 00:10:48,760
Clint Eastwood was
a swimming instructor.
79
00:10:48,840 --> 00:10:52,480
Then, for many years
he had been the second actor
80
00:10:52,560 --> 00:10:55,840
in a western series
called "Rawhide".
81
00:10:59,840 --> 00:11:01,840
When they sent him to me
82
00:11:01,920 --> 00:11:05,360
to see one of these subjects,
"The Black Sheep"
83
00:11:05,440 --> 00:11:07,880
he did not speak,
he did not say a word.
84
00:11:17,560 --> 00:11:19,480
I wrote the script in 15 days.
85
00:11:20,560 --> 00:11:25,480
It all started
with my viewing of "Yojimbo".
86
00:11:29,000 --> 00:11:32,560
The thing that intrigued me most
about 'Yojimbo' was the fact
87
00:11:32,640 --> 00:11:34,440
that it had been taken
from an American novel
88
00:11:34,520 --> 00:11:36,000
a mystery series.
89
00:11:43,560 --> 00:11:49,400
Kurosawa had transported
the idea to his samurai.
90
00:11:49,520 --> 00:11:56,560
I wanted to bring
this idea back.
91
00:12:45,640 --> 00:12:49,880
The thing that struck me about
this boy was his indolence.
92
00:12:52,240 --> 00:12:54,040
He was a real cat-man,
born lazy.
93
00:12:54,120 --> 00:12:59,560
He seemed to sleep as he walked.
94
00:13:01,080 --> 00:13:03,760
But then, when it was time
95
00:13:03,840 --> 00:13:10,320
he gained
a curious speed and dynamics.
96
00:13:11,200 --> 00:13:15,280
This gave me
a very specific cliché
97
00:13:15,360 --> 00:13:17,000
a charm to the character.
98
00:13:37,880 --> 00:13:42,240
The work he is able to do
on Eastwood is wonderful.
99
00:13:42,320 --> 00:13:45,760
If Eastwood had been remained
the one of American cinema
100
00:13:45,840 --> 00:13:48,280
he might never
have become Clint.
101
00:13:49,000 --> 00:13:51,360
He took away that divine aspect
102
00:13:51,440 --> 00:13:54,800
that made him
utterly improbable.
103
00:13:57,600 --> 00:13:59,440
Greetings, my friend.
104
00:13:59,520 --> 00:14:02,600
He made him a God among men.
105
00:14:07,880 --> 00:14:10,640
He managed to bring and transfer
the Roman indolence
106
00:14:10,720 --> 00:14:15,640
inside Clint Eastwood's body,
in the attitudes, the mannerisms
107
00:14:15,720 --> 00:14:17,080
that being sly
108
00:14:17,160 --> 00:14:21,160
and at the same time
awake, cunning, smart.
109
00:14:26,480 --> 00:14:30,680
- Ciak, first.
- Montaldo. - Here I am.
110
00:14:32,920 --> 00:14:35,400
I was in the Papi-Colombo film
111
00:14:35,520 --> 00:14:39,160
because I had to make
my first film with them.
112
00:14:39,240 --> 00:14:41,640
My debut was in the room
113
00:14:41,720 --> 00:14:43,760
where the two producers
had their studio.
114
00:14:43,840 --> 00:14:45,160
I heard noises.
115
00:14:52,120 --> 00:14:55,160
Noises and voices.
At one point, I hear making…
116
00:14:55,720 --> 00:14:57,360
And then, here they come.
117
00:15:00,000 --> 00:15:02,960
It was Sergio Leone
118
00:15:03,040 --> 00:15:07,920
telling the producers about
the movie with the shooting.
119
00:15:08,000 --> 00:15:11,800
The beauty and charm with which
he told things were impressive.
120
00:15:29,680 --> 00:15:34,800
A FISTFUL OF DOLLARS
121
00:16:25,000 --> 00:16:27,040
The idea was
122
00:16:27,120 --> 00:16:29,160
Harlequin serves
the two masters.
123
00:16:48,720 --> 00:16:52,320
He puts himself in the middle
124
00:16:52,400 --> 00:16:55,680
and sells himself
to one and the other
125
00:16:55,760 --> 00:16:57,080
without the two knowing it
126
00:16:57,160 --> 00:16:58,840
and turning them
against each other.
127
00:18:02,360 --> 00:18:05,760
In Ford's films,
when an actor opens the window
128
00:18:05,840 --> 00:18:09,880
it is always to look
at the immense future ahead.
129
00:18:09,960 --> 00:18:11,880
In mine,
when they open the window
130
00:18:11,960 --> 00:18:13,760
they only have
the terror and the fear
131
00:18:13,840 --> 00:18:15,160
of getting shot
between the eyes.
132
00:18:36,040 --> 00:18:38,400
The movie was released
in Florence.
133
00:18:38,520 --> 00:18:42,720
On Friday gained 600,000 liras,
800 on Saturday
134
00:18:43,520 --> 00:18:45,440
a million and three on Sunday.
135
00:18:45,520 --> 00:18:48,440
On Monday,
it was expected 100,000 liras.
136
00:18:48,520 --> 00:18:51,680
It made a million and a half.
The myth had arrived in Rome.
137
00:21:42,440 --> 00:21:46,440
For me, the west is mostly
fairy tales and fantasy.
138
00:21:47,520 --> 00:21:49,600
There are historical characters,
139
00:21:49,680 --> 00:21:53,320
but they are also linked
to myth, legend, fairy tale.
140
00:23:38,960 --> 00:23:45,360
THE BAD
141
00:24:04,720 --> 00:24:08,880
THE UGLY
142
00:26:11,000 --> 00:26:14,600
My latest film
"The Good the Bad, and the Ugly"
143
00:26:15,600 --> 00:26:22,960
is an epic picaresque western
144
00:26:23,040 --> 00:26:25,400
because it's the story
145
00:26:25,520 --> 00:26:29,640
of 3 magnificent
and sympathetic rogues
146
00:26:29,720 --> 00:26:34,520
set in the context
of the Civil War.
147
00:29:49,240 --> 00:29:54,360
He used to take us with him.
148
00:29:54,440 --> 00:29:58,080
He had a passion for us.
149
00:29:58,160 --> 00:29:59,520
There was a feeling
150
00:29:59,560 --> 00:30:02,760
that family was
above everything else.
151
00:30:07,880 --> 00:30:13,440
I have just
some childhood memories.
152
00:30:17,560 --> 00:30:20,320
I remember
these deserted, dusty lands
153
00:30:20,400 --> 00:30:23,120
where there were
no children, only adults.
154
00:30:23,200 --> 00:30:26,320
We had to be quiet
because he was shooting.
155
00:30:26,400 --> 00:30:28,600
For a child,
it was a very boring thing.
156
00:30:33,360 --> 00:30:35,960
I have beautiful memories.
157
00:30:36,040 --> 00:30:40,960
For a child, being brought
on a set is a fantastic game.
158
00:30:41,040 --> 00:30:44,360
The greatest joy was
being dressed
159
00:30:44,440 --> 00:30:46,320
to play extras in the film.
160
00:30:49,520 --> 00:30:52,120
He had a strong bond
with the family.
161
00:30:52,200 --> 00:30:56,640
Having spent many months at home
before shooting "Un sacco bello"
162
00:30:56,720 --> 00:30:59,400
I saw the relationship between
him, his wife and his children.
163
00:30:59,480 --> 00:31:00,720
He was in love
164
00:31:00,800 --> 00:31:04,640
with his two daughters,
Andrea and his wife Carla.
165
00:31:04,720 --> 00:31:07,000
It was a lovely family.
166
00:31:11,560 --> 00:31:17,240
People in Dad’s crew often came
over our house
167
00:31:17,320 --> 00:31:19,400
they were friends.
168
00:31:19,480 --> 00:31:22,920
There wasn't a shocking impact
of being in a strange place
169
00:31:23,000 --> 00:31:24,480
it was a familiar place.
170
00:31:28,360 --> 00:31:31,040
For me, it was a great game,
a nice journey.
171
00:31:31,120 --> 00:31:34,320
It was a way
to get together on vacation.
172
00:31:34,400 --> 00:31:38,200
It was a different vacation
from those of my friends
173
00:31:38,280 --> 00:31:43,920
who had a quieter
and normal life.
174
00:34:04,880 --> 00:34:06,400
In Libération,
about 30 years ago,
175
00:34:06,480 --> 00:34:07,600
there was a questionnaire.
176
00:34:07,680 --> 00:34:10,800
It was asked to 200 directors,
or something like that.
177
00:34:10,880 --> 00:34:12,880
The question was:
"Why do you shoot?"
178
00:34:12,960 --> 00:34:15,880
One answer that stood out for me
was that of David Lynch
179
00:34:15,960 --> 00:34:19,600
who replied, "To create
universes and see if it works."
180
00:34:19,680 --> 00:34:23,000
"For me, Sergio Leone creates
a universe and it works".
181
00:39:07,480 --> 00:39:14,360
We are here working
on the research of two motifs
182
00:39:14,440 --> 00:39:20,080
for my last film
called "Duck, You Sucker!"
183
00:39:20,160 --> 00:39:24,720
Dad had landmarks from which
he would never deviate.
184
00:39:30,640 --> 00:39:34,360
You could tell him the coolest
singer in the world was there
185
00:39:34,440 --> 00:39:36,960
he would say, "He can do a song,
but Ennio does the soundtrack".
186
00:39:37,040 --> 00:39:39,280
There was no discussion.
187
00:39:39,360 --> 00:39:42,800
I remember,
when I made my first film
188
00:39:42,880 --> 00:39:44,640
"For a Fistful of Dollars"
189
00:39:44,720 --> 00:39:47,600
I didn't want Ennio Morricone,
because I didn't know him
190
00:39:47,680 --> 00:39:51,400
I was used to working
with another musician.
191
00:39:51,520 --> 00:39:53,680
We met two days later
192
00:39:53,760 --> 00:39:57,280
because the producers
wanted us to meet.
193
00:39:57,360 --> 00:40:00,720
And at that moment,
we recognized each other.
194
00:40:00,800 --> 00:40:07,320
Now I think we have to work,
my dear friend Ennio.
195
00:40:07,400 --> 00:40:10,000
Let's go in.
196
00:40:11,080 --> 00:40:14,800
They were in complete harmony.
197
00:40:23,800 --> 00:40:25,120
Dad and Ennio were working
198
00:40:25,200 --> 00:40:27,760
on the score
of ''Duck, You Sucker!".
199
00:40:27,840 --> 00:40:30,080
Ennio plays something
and Dad says
200
00:40:30,160 --> 00:40:31,800
"Yes, but make it
a bit sweeter here".
201
00:40:36,720 --> 00:40:43,320
Make it a bit sweeter,
it's about kids.
202
00:40:43,400 --> 00:40:47,000
There was
an all-around collaboration
203
00:40:47,080 --> 00:40:51,080
they were birthing it together.
204
00:41:00,880 --> 00:41:04,240
This is the perfect fusion.
205
00:41:05,560 --> 00:41:09,040
I remember Sergio
when we were in third grade.
206
00:41:09,120 --> 00:41:10,560
Then he disappeared
207
00:41:10,640 --> 00:41:12,560
because he changed school
the next year
208
00:41:12,640 --> 00:41:15,520
so I never saw him again
until many years after that
209
00:41:15,560 --> 00:41:17,720
when he asked me to do
the soundtrack
210
00:41:17,800 --> 00:41:19,520
for "A Fistful of Dollars".
211
00:41:24,000 --> 00:41:26,320
I made that film very willingly.
212
00:41:26,400 --> 00:41:31,720
I had an idea in mind
and I developed it.
213
00:41:33,680 --> 00:41:37,720
The whistle and the instruments
that accompanied the whistle
214
00:41:37,800 --> 00:41:41,680
were fancy
and had nothing to do with it
215
00:41:42,640 --> 00:41:44,880
weird percussion.
216
00:42:16,720 --> 00:42:18,800
In all of Sergio's films
217
00:42:18,880 --> 00:42:25,400
I've changed the physiognomy
of the music every time.
218
00:42:29,080 --> 00:42:31,360
The music box in the second film
219
00:42:32,000 --> 00:42:34,880
was part of the script,
of the story.
220
00:42:34,960 --> 00:42:38,880
However,
it was not always in the scene.
221
00:42:38,960 --> 00:42:43,520
When it was filmed without
the music box in the scene
222
00:42:44,360 --> 00:42:48,400
it became an abstract thing.
223
00:43:12,280 --> 00:43:18,240
It was important that it took
this aspect of sound
224
00:43:18,320 --> 00:43:21,280
in relation to history.
225
00:43:21,360 --> 00:43:23,520
In
"Once upon a time in the West"
226
00:43:23,560 --> 00:43:27,440
the harmonica becomes
the protagonist.
227
00:43:50,440 --> 00:43:52,200
He found out
228
00:43:53,000 --> 00:43:55,960
that when an instrument
makes sounds
229
00:43:56,040 --> 00:43:59,400
in the reality of the image
230
00:43:59,480 --> 00:44:03,840
and we hear it again
without it being in the image
231
00:44:03,920 --> 00:44:07,920
this instrument becomes
a fundamental evocation
232
00:44:08,000 --> 00:44:10,880
that cooperates
with the meanings of the film.
233
00:44:17,720 --> 00:44:20,440
This was
an important stunt of his.
234
00:46:07,120 --> 00:46:13,720
That was very kind of him.
I didn't do the scripts.
235
00:46:13,800 --> 00:46:18,200
He meant
that the meaning of the music
236
00:46:18,280 --> 00:46:23,840
behind the pictures
and the realistic sounds of the film
237
00:46:23,920 --> 00:46:29,240
it meant quite as much
as the dialogue could mean
238
00:46:29,320 --> 00:46:31,960
something more than the dialogue
239
00:46:32,040 --> 00:46:36,240
the abstract interpretation
of words.
240
00:46:51,000 --> 00:46:53,720
Sergio's films were so good
241
00:46:53,800 --> 00:46:55,600
that they held
even inferior music
242
00:46:55,680 --> 00:46:56,960
than the ones I wrote.
243
00:47:02,960 --> 00:47:05,280
The music is not
part of the film
244
00:47:05,360 --> 00:47:07,520
it interprets the film
245
00:47:07,560 --> 00:47:09,440
it supports concepts
246
00:47:09,520 --> 00:47:12,520
that the composer lends
to the film
247
00:47:12,600 --> 00:47:15,200
and of course to the director.
248
00:47:40,200 --> 00:47:44,440
The actor's thoughts,
what he does not say
249
00:47:44,520 --> 00:47:46,600
can be represented by music.
250
00:48:01,840 --> 00:48:05,040
The look of a motionless actor
251
00:48:06,080 --> 00:48:09,960
who felt behind him
or in front of him
252
00:48:10,040 --> 00:48:12,800
something unbearable.
253
00:48:19,240 --> 00:48:24,800
It was full of suspicions,
memories, terrible things
254
00:48:24,880 --> 00:48:27,280
or very simple things.
255
00:48:59,920 --> 00:49:02,520
When faced with playing
256
00:49:02,560 --> 00:49:07,320
emotional, particular,
sentimental scene
257
00:49:07,400 --> 00:49:09,440
with music underneath
258
00:49:09,520 --> 00:49:13,520
have sometimes
gone off the rails
259
00:49:13,600 --> 00:49:18,840
and said, "Look, we don't give
a damn about direct-to-video".
260
00:49:18,920 --> 00:49:22,360
"I keep the music underneath
because it helps me".
261
00:49:22,440 --> 00:49:24,560
"We'll dub this piece later".
262
00:49:27,240 --> 00:49:29,040
With music on the set
263
00:49:29,120 --> 00:49:33,240
something special
and sacred happens.
264
00:49:33,320 --> 00:49:36,600
It takes greater concentration
on everyone's part.
265
00:49:39,320 --> 00:49:44,120
There is a higher harmony
266
00:49:45,240 --> 00:49:49,120
that brings together
in the best possible way
267
00:49:49,200 --> 00:49:51,520
the product of everyone's work.
268
00:49:51,560 --> 00:49:54,520
This is a particular scene
that I turn all silent
269
00:49:54,560 --> 00:49:57,400
because it is
as if seen by a protagonist
270
00:49:57,520 --> 00:49:58,640
who is only discovered
271
00:49:58,720 --> 00:50:02,080
at the end
of this tracking shot.
272
00:50:02,160 --> 00:50:04,280
Sends a little less smoke.
273
00:50:04,360 --> 00:50:07,360
- A little less smoke!
- Shooting.
274
00:50:08,520 --> 00:50:11,440
Clapperboard. 28-1, first take.
275
00:50:40,680 --> 00:50:46,520
Perhaps, Sergio Leone is also
the last great silent filmmaker.
276
00:50:46,560 --> 00:50:48,360
He gave back
277
00:50:48,440 --> 00:50:50,800
an extraordinary
strength to images.
278
00:51:10,000 --> 00:51:13,720
Sergio worked a lot on silence.
279
00:51:13,800 --> 00:51:15,720
On the silence of whom?
280
00:51:15,800 --> 00:51:18,280
Of the actors,
of the characters.
281
00:51:18,360 --> 00:51:21,400
On the silence
of seeing a scene.
282
00:51:21,520 --> 00:51:25,680
That silence is true,
represented by music.
283
00:51:25,760 --> 00:51:28,840
The music at that moment
represented itself
284
00:51:28,920 --> 00:51:33,960
in a very fundamental way
for that scene
285
00:51:34,040 --> 00:51:39,040
for what had happened earlier
and for what would happen later.
286
00:51:39,120 --> 00:51:45,680
Music told the past
and the future of the film.
287
00:52:32,560 --> 00:52:37,760
My father had
a great attention to noise.
288
00:52:37,840 --> 00:52:42,120
He found in Ennio
more than fertile ground.
289
00:52:43,000 --> 00:52:44,440
Yes?
290
00:52:44,520 --> 00:52:45,920
Here, even with the tools, good.
291
00:52:48,760 --> 00:52:51,640
We used these
for Robert De Niro's steps
292
00:52:51,720 --> 00:52:53,040
in
"Once Upon a Time in America".
293
00:52:53,120 --> 00:52:55,560
I used to work
with Renato Marinelli
294
00:52:55,640 --> 00:52:57,160
who was Sergio's foley artist.
295
00:52:57,240 --> 00:52:59,040
Everything used
to be reproduced in studio.
296
00:52:59,120 --> 00:53:01,160
Today computers help us editing.
297
00:53:01,240 --> 00:53:03,360
In the past, you had
to do everything in studio
298
00:53:03,440 --> 00:53:05,840
and you had to be suitable.
299
00:53:10,920 --> 00:53:17,400
Sergio Leone looked grumpy,
but he was a chum after all.
300
00:53:17,520 --> 00:53:18,760
He was funny
301
00:53:18,840 --> 00:53:22,080
and he would gratify you
for the job you did.
302
00:53:22,160 --> 00:53:24,440
When he enters the field
303
00:53:24,520 --> 00:53:29,600
make me the sound of a horse
in the background.
304
00:53:35,760 --> 00:53:37,200
It's the same.
305
00:53:40,920 --> 00:53:46,320
Make it a little less strident,
or it will disturb.
306
00:53:47,240 --> 00:53:49,800
I always met the noisemakers.
307
00:53:51,280 --> 00:53:53,800
We used to joke and say
308
00:53:53,880 --> 00:53:56,040
''Keep the noisemakers down"
309
00:53:56,120 --> 00:53:58,120
"because the music
has to come out'.'
310
00:53:58,200 --> 00:54:01,840
That was our fun, funny talk.
311
00:54:01,920 --> 00:54:04,520
Morricone was quite a character.
312
00:54:04,560 --> 00:54:07,760
When you entered the environment
there was some confidence.
313
00:54:07,840 --> 00:54:09,760
There was joking around.
314
00:54:09,840 --> 00:54:12,520
Once, while he was mixing,
in agreement with Sergio Leone
315
00:54:12,600 --> 00:54:14,520
Fausto changed the music.
316
00:54:14,600 --> 00:54:17,320
Sometimes, Ennio
would fall asleep in the hall
317
00:54:17,400 --> 00:54:23,080
then slowly change and put on
music by another musician.
318
00:54:23,160 --> 00:54:25,120
At that point, he would wake up.
319
00:54:25,200 --> 00:54:26,880
"What happened?"
320
00:54:26,960 --> 00:54:29,760
And he would reply,
"Didn't you like it?"
321
00:54:32,120 --> 00:54:34,280
I met Sergio Leone
322
00:54:34,360 --> 00:54:37,840
when I made
"The Good the Bad and the Ugly".
323
00:54:37,920 --> 00:54:41,120
From there until
"Once Upon a Time in America"
324
00:54:41,200 --> 00:54:42,920
I mixed everything.
325
00:54:44,800 --> 00:54:47,520
Leone creates
326
00:54:47,600 --> 00:54:52,520
his expressive revolution
within his field.
327
00:54:52,600 --> 00:54:54,760
The highest example is
328
00:54:54,840 --> 00:54:56,960
the beginning of
"Once Upon a Time in the West".
329
00:55:01,800 --> 00:55:05,160
Those long credits
that made history.
330
00:55:09,320 --> 00:55:12,600
The squeaking of the mill
and everything.
331
00:55:12,680 --> 00:55:15,800
He had made the music,
as beautiful as ever.
332
00:55:19,240 --> 00:55:22,600
When we went to mix,
Ennio was not there.
333
00:55:22,680 --> 00:55:23,920
So, he says to me
334
00:55:25,000 --> 00:55:26,600
"Fausto,
let's get this music off."
335
00:55:26,680 --> 00:55:31,600
"Sergio, are you sure?"
"Let's get this music off."
336
00:55:33,720 --> 00:55:36,360
Those realistic sounds are not
337
00:55:36,440 --> 00:55:39,320
the negation
of Morricone's music.
338
00:55:39,400 --> 00:55:43,080
They are the fruit
of their intense collaboration.
339
00:55:44,360 --> 00:55:47,840
When we mixed,
Ennio Morricone came to see.
340
00:55:47,920 --> 00:55:49,880
At the beginning,
we didn't say anything to him.
341
00:55:54,600 --> 00:55:59,320
"Sergio, you made
the most beautiful music ever".
342
00:56:00,360 --> 00:56:02,240
He didn't take it personally!
343
00:56:17,440 --> 00:56:22,240
For 70 years, cinema has been
the art of synthesis.
344
00:56:22,320 --> 00:56:24,400
Leone showed us it was possible
345
00:56:24,480 --> 00:56:27,320
to tell the life of a man
in 90 minutes
346
00:56:27,400 --> 00:56:29,640
and Leone told us
347
00:56:29,720 --> 00:56:33,800
how time can be suspended
348
00:56:33,880 --> 00:56:38,160
lengthened,
transformed, multiplied
349
00:56:38,840 --> 00:56:44,120
and how cinema can also be
the art of telling about waiting
350
00:56:44,200 --> 00:56:46,880
of telling
that nothing is happening.
351
00:56:49,080 --> 00:56:53,160
This belonged to literature,
but not to cinema.
352
00:56:55,400 --> 00:56:59,560
The one about the fly trapped
in the gun was my idea.
353
00:56:59,640 --> 00:57:05,760
That's for sure, I bragged a lot
about it to Sergio afterwards.
354
00:57:18,800 --> 00:57:23,240
You never feel the anguish
of the editing director
355
00:57:23,320 --> 00:57:26,760
who must necessarily close
one situation
356
00:57:26,840 --> 00:57:31,000
to make room for the next one.
357
00:57:31,080 --> 00:57:35,160
The story has to breathe
on its own.
358
00:57:35,240 --> 00:57:41,200
You feel this and it's special,
new and perfect.
359
00:57:49,640 --> 00:57:52,360
"Once Upon a Time in the West"
is an arthouse film.
360
00:57:52,440 --> 00:57:57,320
I set out
to tell through a parable
361
00:57:57,400 --> 00:58:00,160
as it could have been
a fairy tale, or a western
362
00:58:00,240 --> 00:58:04,160
to tell the story of the birth
of the American nation.
363
00:59:00,520 --> 00:59:04,760
I was very young,
I was a young boy.
364
00:59:04,840 --> 00:59:08,240
For me, it was a great honor
to hang out with Sergio Leone.
365
00:59:08,320 --> 00:59:15,040
Bernardo, Sergio and I
wrote this treatment
366
00:59:15,120 --> 00:59:17,120
that was then
the basis of the film.
367
00:59:23,720 --> 00:59:27,160
At the beginning, we used
to meet at Sergio's place.
368
00:59:27,240 --> 00:59:33,600
Then, we started meeting
at Bernardo's or at my place.
369
00:59:33,680 --> 00:59:37,160
This job lasted quite a lot,
two or three months.
370
00:59:40,520 --> 00:59:42,520
The main character was a woman.
371
00:59:42,560 --> 00:59:46,240
He had never worked
with women in his movies.
372
00:59:46,320 --> 00:59:50,560
I think it was for this reason
that he took Bernardo and me
373
00:59:50,640 --> 00:59:52,560
because we were very young.
374
00:59:52,640 --> 00:59:57,240
He thought screenwriters
at that time, of a certain age
375
00:59:57,320 --> 01:00:00,840
did not know about femininity.
376
01:00:19,280 --> 01:00:24,560
I did the first part
and Bernardo did the second one.
377
01:00:24,640 --> 01:00:30,800
We went to a copy shop
with a big pack of papers
378
01:00:32,720 --> 01:00:36,720
and this woman started writing.
379
01:00:36,800 --> 01:00:40,040
While she was writing,
we stood there waiting
380
01:00:40,120 --> 01:00:42,040
because we wanted
to take it away.
381
01:00:42,120 --> 01:00:44,480
He became passionate
about this story.
382
01:00:47,560 --> 01:00:49,360
She loved it so much.
383
01:00:49,440 --> 01:00:52,240
Every now and then she would
say, "This scene is beautiful".
384
01:00:52,320 --> 01:00:58,200
We were thrilled by this fact,
it was an important moment.
385
01:01:01,680 --> 01:01:03,400
ONCE UPON A TIME IN THE WEST
386
01:02:19,520 --> 01:02:24,920
Sergio took some
very famous actors at the time
387
01:02:25,000 --> 01:02:30,280
among whom excelled Henry Fonda.
388
01:02:30,360 --> 01:02:33,120
The nicest actor
in Hollywood history.
389
01:02:39,400 --> 01:02:40,880
I can tell this anecdote.
390
01:02:40,960 --> 01:02:45,040
He came to Italy transformed.
He was someone else.
391
01:02:45,120 --> 01:02:48,680
He had black hair,
Spanish-style sideburns
392
01:02:48,760 --> 01:02:51,880
and even black contact lenses.
393
01:03:03,520 --> 01:03:06,040
I left him like he was.
394
01:03:06,120 --> 01:03:11,440
Slowly and gently, I tried
to postpone his entrance.
395
01:03:11,520 --> 01:03:16,880
Day by day, I made him take off
something of this masking.
396
01:03:16,960 --> 01:03:20,280
Finally, before going on stage,
I said to him
397
01:03:20,360 --> 01:03:24,600
"Shouldn't you also remove
these black contact lenses"
398
01:03:24,680 --> 01:03:28,280
"that make your gaze fixed,
monotonous?"
399
01:03:28,360 --> 01:03:31,560
"You have
wonderfully expressive eyes"
400
01:03:31,640 --> 01:03:33,560
He finally took them out.
401
01:03:46,360 --> 01:03:48,360
I put the car behind him
402
01:03:48,440 --> 01:03:51,320
and almost surprisingly
doing a circular cart
403
01:03:51,400 --> 01:03:52,560
I would make discover
404
01:03:52,640 --> 01:03:54,000
that underneath
this terrible murderer
405
01:03:54,080 --> 01:03:56,440
there is none other
than Henry Fonda.
406
01:04:11,680 --> 01:04:15,400
As a great actor
and experienced actor
407
01:04:15,520 --> 01:04:18,760
he said, "Jesus Christ,
now I understand".
408
01:05:05,600 --> 01:05:09,520
He loved John Ford, Howard Hawks
409
01:05:09,600 --> 01:05:13,560
the great myths
of American Western cinema.
410
01:05:13,640 --> 01:05:20,120
He felt he needed to tell
their stories in another way.
411
01:06:39,200 --> 01:06:43,720
I don't fight
to impose my ideas on others.
412
01:06:43,800 --> 01:06:47,200
I fight to not let others' ideas
impose themselves on me.
413
01:06:47,280 --> 01:06:49,920
Entertainment should be
a vehicle
414
01:06:50,000 --> 01:06:54,000
a bicycle to get to make
speeches that interest us
415
01:06:54,080 --> 01:06:56,200
but without taking a position.
416
01:06:56,280 --> 01:07:00,960
Taking a position means
making an advertisement
417
01:07:01,040 --> 01:07:04,240
and that's a kind of cinema
I don't like.
418
01:07:12,520 --> 01:07:14,800
He didn't make easy films.
419
01:07:14,880 --> 01:07:17,800
They were very difficult
and political.
420
01:07:17,880 --> 01:07:20,920
There was a lot of thought
behind them
421
01:07:21,000 --> 01:07:23,560
and a lot of commitment.
422
01:07:23,640 --> 01:07:27,520
REVOLUTION IS AN ACT OF VIOLENCE
423
01:08:53,960 --> 01:08:58,360
He addresses certain issues
with his own way of seeing
424
01:08:58,440 --> 01:09:03,640
that is that of a kid
who remembers how to play
425
01:09:03,720 --> 01:09:05,640
but who already knows
how the world of adults works.
426
01:11:37,960 --> 01:11:42,080
Late 1967, early 1968,
I went to America
427
01:11:42,160 --> 01:11:45,200
in an attempt to make
"Once Upon a Time in America".
428
01:11:45,280 --> 01:11:48,280
The idea had been
with me for a long time.
429
01:13:52,640 --> 01:13:55,120
I am very stubborn,
very tenacious.
430
01:13:55,200 --> 01:13:57,600
In fact, I make the cinema
I love to make.
431
01:13:57,680 --> 01:14:02,560
I have to love a film viscerally
and from the inside out.
432
01:14:37,760 --> 01:14:40,200
Why haven't you done
anything for two years?
433
01:14:40,280 --> 01:14:41,680
I'm stuck.
434
01:14:41,760 --> 01:14:44,920
It's quite a story the whole
audience knows it by now.
435
01:14:45,000 --> 01:14:46,760
This is for
"Once Upon a Time in America"?
436
01:14:46,840 --> 01:14:48,880
Yes, it's for
"Once Upon a Time in America."
437
01:14:48,960 --> 01:14:52,600
I've started the script
and I can't buy the copyright.
438
01:14:52,680 --> 01:14:56,040
I hope to break the deadlock,
we'll see.
439
01:15:00,680 --> 01:15:06,920
For 10 long years if not longer,
this has been the focal point.
440
01:15:07,000 --> 01:15:09,440
I remember him
telling us about the film
441
01:15:09,520 --> 01:15:11,080
even before he had written it.
442
01:15:14,200 --> 01:15:17,800
I think Dad read us the script
at least 100 times.
443
01:15:21,040 --> 01:15:22,800
In the evening
he would come back and say
444
01:15:22,880 --> 01:15:24,440
"I changed this, I did this".
445
01:15:24,520 --> 01:15:26,840
Initially the film was called
"Once Upon a Time, America".
446
01:15:26,920 --> 01:15:29,360
Then, he said it was
a little too pretentious.
447
01:15:50,720 --> 01:15:58,080
We experienced the joy of seeing
his dream finally coming true
448
01:15:58,160 --> 01:16:02,440
when Arnon Milchan appeared
in his life and in ours too.
449
01:16:18,920 --> 01:16:22,360
The story is an ideal
continuation of a triptych
450
01:16:22,440 --> 01:16:29,520
and the pretext of gangsterism,
of American reminiscence
451
01:16:29,560 --> 01:16:33,920
is the pretext for a European
like me with my background
452
01:16:34,000 --> 01:16:38,240
to express my love
for American cinema.
453
01:16:40,160 --> 01:16:42,080
The subtitle of the film
could be
454
01:16:42,160 --> 01:16:44,520
"'Once upon a time, there was
a certain kind of film".
455
01:17:07,160 --> 01:17:11,800
Color will be an important
feature. Here are the colors.
456
01:17:11,880 --> 01:17:14,880
In my opinion, the right tones
are brown and beige.
457
01:17:14,960 --> 01:17:18,120
This is the Lyric Theatre
that we do exactly the same.
458
01:17:18,200 --> 01:17:23,760
"Once Upon a Time in America" is
my father's way of thinking big.
459
01:17:23,840 --> 01:17:27,200
I want this aerial orchestra.
460
01:17:27,280 --> 01:17:31,120
It seems like something
out of a storybook.
461
01:17:31,200 --> 01:17:38,520
For its melancholy for the past.
462
01:19:35,160 --> 01:19:39,960
During the first scene he shot,
we were all tense
463
01:19:40,040 --> 01:19:41,960
because it was so many years…
464
01:19:42,040 --> 01:19:45,760
For me it was like watching him
shoot for the first time.
465
01:19:48,200 --> 01:19:50,520
Dad was very excited.
466
01:19:51,560 --> 01:19:57,200
He could finally start
his big dream.
467
01:25:06,840 --> 01:25:08,840
Cut!
468
01:28:40,720 --> 01:28:45,840
He never sought applause
or sympathetic film criticism.
469
01:28:45,920 --> 01:28:47,960
It arrived with
"Once upon a time in America".
470
01:28:48,040 --> 01:28:51,360
He was very surprised
471
01:28:51,440 --> 01:28:57,520
by the clamor the film received
at Cannes Film Festival.
472
01:28:58,000 --> 01:28:59,320
His surprise
473
01:28:59,400 --> 01:29:03,080
when the 20 minutes of applause
in the hall went on forever.
474
01:29:04,360 --> 01:29:06,280
I remember the look in his eyes
475
01:29:06,360 --> 01:29:09,120
which in front of others
went unnoticed
476
01:29:09,200 --> 01:29:14,520
but it was
incredibly emotional for me.
477
01:29:17,080 --> 01:29:21,680
Then, the next day's criticism
made him happy.
478
01:29:23,640 --> 01:29:26,760
As usual, as he would have done
in one of his films
479
01:29:26,840 --> 01:29:28,920
it didn't end so well.
480
01:30:12,200 --> 01:30:14,120
This is what worries me the most
481
01:30:14,200 --> 01:30:17,120
to get to cut it to two hours
and three quarters
482
01:30:17,200 --> 01:30:20,920
they're forced to do a new edit,
so it is no longer my film.
483
01:30:57,720 --> 01:31:01,160
It was a big deal for him.
484
01:31:01,240 --> 01:31:03,160
If I had been him
485
01:31:03,240 --> 01:31:06,040
I would have been curious
to see the havoc
486
01:31:06,120 --> 01:31:08,040
that had been wrecked.
487
01:31:08,120 --> 01:31:13,680
He never wanted to see it.
That was his creature.
488
01:31:52,320 --> 01:31:53,560
I remember
we went to Leningrad
489
01:31:53,640 --> 01:31:56,520
where he narrated
the whole film.
490
01:31:56,600 --> 01:31:58,840
There was a page
written in Leningrad
491
01:31:58,920 --> 01:32:00,320
he had the whole film
in his head.
492
01:32:37,600 --> 01:32:39,960
He thought of De Niro.
493
01:32:40,040 --> 01:32:42,320
Among his collaborators
there was Tonino Delli Colli
494
01:32:42,400 --> 01:32:45,840
who stammered back to him
495
01:32:45,920 --> 01:32:49,960
"You know we're going to die
in Russia, right?"
496
01:32:53,200 --> 01:32:55,800
"-40 degrees,
it's going to be freezing cold"
497
01:32:55,880 --> 01:32:57,640
"you're sick, in the trenches."
498
01:32:57,720 --> 01:33:01,280
"Can't we do a good
detective story set in Paris?"
499
01:33:01,360 --> 01:33:04,680
"Can't we do it in the theater?
We're old people."
500
01:33:09,000 --> 01:33:12,200
He always told me
he wanted to make this film.
501
01:33:12,280 --> 01:33:14,960
I would occasionally ask him
502
01:33:16,680 --> 01:33:19,440
"If you have the script ready,
let me read it".
503
01:33:19,520 --> 01:33:21,360
He used to tell me:
"I haven't done it'.
504
01:33:21,440 --> 01:33:23,160
He always told me this.
505
01:33:23,240 --> 01:33:27,160
He knew he couldn't do it.
506
01:33:28,920 --> 01:33:32,000
SILENCE
507
01:35:30,400 --> 01:35:32,560
It is like going
to an art gallery
508
01:35:32,640 --> 01:35:38,280
to see paintings
of a revolutionary artist.
509
01:35:38,360 --> 01:35:40,520
You are enchanted.
510
01:36:20,240 --> 01:36:26,520
It has been 38 years since
the first time I came to Italy
511
01:36:26,600 --> 01:36:34,120
as a young actor for an equally
young director, Sergio Leone.
512
01:36:34,200 --> 01:36:39,080
That event was
a positive turning point
513
01:36:39,160 --> 01:36:42,720
for both our careers.
514
01:36:42,800 --> 01:36:45,720
Thank you very much, Sergio.
515
01:36:46,640 --> 01:36:48,240
A lion for Leone.
516
01:37:16,280 --> 01:37:18,720
The director is missing,
but not only me,
517
01:37:18,800 --> 01:37:20,120
the whole world.
518
01:37:20,200 --> 01:37:24,040
I miss a person who was
looking for the best in me
519
01:37:24,120 --> 01:37:26,200
knowing that I could give it.
520
01:37:29,560 --> 01:37:32,800
If you had Sergio here,
what would you say to him?
521
01:37:32,880 --> 01:37:35,160
Me personally:
"How much I missed you."
522
01:37:35,800 --> 01:37:36,840
That's all.
523
01:37:40,120 --> 01:37:42,120
Come back.
524
01:37:42,960 --> 01:37:45,600
I'd like to say
thank you to him.
525
01:37:45,680 --> 01:37:47,680
Wait, I'll be fine.
526
01:37:50,080 --> 01:37:52,080
What is it? Thirty-five years?
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