Sergio Leone Web Board
Films of Sergio Leone => Once Upon A Time In The West => Topic started by: Leonardo on August 02, 2007, 02:22:45 PM
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Just found this 30 minutes interview with Claudio Mancini who talks about him and Sergio.
Remember he was on young Bronson's shoulder at the arch scene.
I'm sorry for those of you who do not speak italian, as it is really extrememly interesting for Leone fans.
Full of behind-the-scenes stories and anecdotes.
The only thing he did not clarify was those last words he spoke before being hanged. But I'm trying to find out from the author of the interview.
According to him, it took 2 full days to shoot the arch scene; it was Leone who convinced him to play Bronson's brother, after a long and unsuccessful search for a Bronson lookalike. The scene was shot without the vest that in cinema is used normally for hanging scenes. On the last evening of filming, young Bronson (Dino Mele) was extremely tired, so for Mancini's close-ups, Leone decided to use a ladder instead of Mele. After finishing shooting, as a joke, the crew and Leone left him there "hanging" alone and it took him quite a while to get down on his own, as his hands were tied behind his back..!
As for Al Mulock's suicide, he confirmed the whole story; he was the first one on the scene after Mulock's deadly fall and as he was trying to help poor Al, he could hear Leone behind him saying "Claudio, the clostume! We must get his costume for tomorrow!!" He also said that he could sense that there was something wrong with Mulock before his suicide, as he stopped eating days before and he looked very depressed.
Another interesting anecdote: for OUTITW, Mancini managed to find in Madrid an old locomotive which he bought for what he thought was a very reasonable price. The next day Leone arrives in Madrid and as soon as he is told by Mancini that he bought this locomotive, Leone goes "Are you crazy???Get out of here!!!" A few minutes after that, a spanish journalist who wanted to interview him told him"You know Mr. Leone, not even John Ford bought a locomotive for his movies!" Upon hearing this, Leone shouts "Get that son of a bitch (Mancini) back!!" And the train made history in OUTITW..
Here is the link, for those of you who speak italian a real treat:
http://www.youtube.com/watch?v=0d_oA_oagRg
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O0
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Sergio was sometimes evil, wasn't he? >:D
Oh, is there sy who could translate it? :-* :big eyes:
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Great post Leonardo! O0
Leone is Leone! ;D
It would be great if someone could translate it for us all... :)
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Here's a transcription of the most interesting parts. Sorry but I 'm not able to make an appropriate translation.
...ho smesso di fare il produttore e ho fatto l'organizzatore e il produttore esecutivo. Poi incontrando Leone mentre facevo un film, mi propose di fare c'era una volta il west. Mi stupì, io che non avevo mai fatto western, e lui era al quarto, mi disse "vai in Spagna e scegli i posti perchè sei fresco e ami il western". Questa era una prova di grande fiducia perchè di solito sono gli scenografi a fare la ricerca delle locations. E mi volle far fare la parte del fratello di Bronson, quello impiccato, perchè avevamo fatto mille ricerche, sui giornali...per trovare uno che somigliasse a Bronson e alla fine la fece fare a me. E mi fece crescere la barba, e se la fece crescere anche lui. Prima non ce l'aveva la barba Sergio. Io l'ho tolta e lui l'ha tenuta.
Il giorno dell'impiccagione, eravamo nella Monument Valley, io visto che mi mantenevo bene in equilibrio sulle spalle del ragazzo gli dissi "senti non usiamo il giubbetto che si usa di solito, che si vede il trucco, mi tengo la corda con le mani dietro la schiena e nel caso lascio andare la corda". Invece a una sbandata strinsi le mani invece di lasciare e quasi mi impicco. Comunque mi tenne 2 giorni li nella Monument Valley e la sera del secondo giorno, per togliere il ragazzo che era stanco, mise una scala al suo posto e alla fine mi lasciarono sulla scala e se ne tonarono tutti in albergo. lasciarono una macchina con le chiavi e arrivai all'albergo che erano già sotto la doccia. Fu durante CUVW che il cinema divetò una passione da un lavoro che mi piaceva e un'avventura. Ma la passione m'è venuta con Sergio, vedendo la sua serietà la sua pignoleria. Era il primo ad arrivare e l'ultimo ad andarsene. Era uno che spaccava la troupe di lavoro, ma la valorizzava pure e dava la dovuta soddisfazione. Non è facile trovare un regista con tutte queste caratteristiche positive. Come uomo molte volte mi faceva incazzare, ma succede. e io forse lo facevo incazzare di più. Io come uomo, non come professionista.
Sergio, che stava producendo " il mio nome è nessuno", mi chiamò come un s.o.s. Si trovavano a disagio come produzione e volevano sostituire quello che la gestiva. Così fu, e ricominciò La mia avventura con Sergio. E con lui produssi "1 genio 2 compari 1 pollo".
Capii che "c'era una volta in America" sarebbe stato un grande progetto e ci entrai pienamente allettato anche da una sfida: fare una doppia funzione. Rapppresentare anche una società che mi dava un potere più forte che il solo produttore esecutivo. E' stato un film molto combattuto, molto faticato, però un grosso film di cui vado fiero e di cui ancora si parla. E ogni volta di più fa sentire la mancanza di un autore come Sergio, perche così oggi non ce ne sono.
Sergio aveva proprio qualche migliaio di fotografie dell'epoca. Sergio voleva ogni cosa al suo posto, ma comunque si portava sempre dietro quel qualcosa di europeo. Non è entrato mai bene nella mentalità di Hollywood. In più era un film su gangster ebrei ... non era facile. Però è riuscito a portarlo alla fine alla grande.
Era venuto un film di 4 ore e mezza, quello che avete visto è 3 e 40. Forse nessun esercente l'avrebbe proiettato a 4 e 30. Ma era veramente più bello.
First scene of OUTIA
La prima scena era di notte: si vedevano 3 teste d persone che camminavano, l'inquadratura si allargava e si scopriva che erano 2 uomini che sostenevano quello in mezzo sollevato da terra e la figura intera si vedeva che aveva i piedi cementati dentro un recipiente. Insomma portavano quest'uomo sul bordo del porto per buttarlo in acqua, dove ovviamente sarebbe affogato. Arrivavano sul bordo, buttavano quest'uomo che si lamentava in acqua. La camera seguiva sottacqua l'immersione e sotto si vedevano parecchi altri cadaveri più o meno scarnificati che ondeggiavano avendo tutti i piedi bloccati nel cemento. Poi la camera risaliva e scopriva l'altra New York "normale".
First scene of "Leningrad" (different version from previously known).
Si parlava molto di Leningrado. Sergio aveva molte cose in testa, ma di scritto c'era ben poco e raccontava quella che doveva essere la prima scena.
Era un teatro dove un'orchestra sta facendo delle prove, finiscono le prove e un personaggio mette nella custodia il suo strumento. Esce dal teatro, preceduto dalla camera, questo è importante. Esce sulla strada, si vede una città distrutta, palazzi bombardati ecc Passa un tram, sale sul tram, vede le rovine dal tram in movimento. Tutto senza staccare mai, come si facesse non lo so. Arriva al capolinea, scende, fa 100 m, arriva a una piccola casa, entra, c'è una donna. Si abbracciano, la camera gira e si vede una finestra, al di là il fiume e al di là 1500 carri armati tedeschi che incombevano. Dissi "Sergio, 1500 carri manco se metti le figurine ci stanno nello schermo". 1500 carri..poi nello schermo ne entrano 150, però lui ne vedeva 1500. Tanto che io gli dicevo che se faceva lo sbarco dei Mille avrebbe chiesto 1500 garibaldini.
Ci sono state anche cose drammatiche. Un attore, uno dei famosi 3 che all'inizio aspettavano il treno per ammazzare Bronson, quello che si faceva scrocchiare le dita, Al Muloch, un attore canadese, si è suicidato. Io avevo capito qualcosa durante la lavorazione: scappava, non voleva recitare, non mangiava. Non riuscivo a capire cosa aveva.
Abitavamo tutti in un palazzo di 5 piani preso da noi come albergo in questo paese chiamato Guadix. la sera dell'ultimo giorno che aveva lavorato lui... penultimo, l'ultimo era da fare, io salendo le scale vedo lo spolverino volare attraverso i finestroni. Sento un grande botto. Era lui che s'era buttato dal 5* piano. Sono corso, non l'ho fatto toccare da nessuno e mentre gli bagnavo le labbra sento una voce dietro che mi dice "a Cla, levaje el vestito, se serve pe' domani". Io mi giro: era Sergio. Capito come si può essere cinici... però sempre per il cinema. Diventano così i registi, possono essere cinici, appassionati, possono lusingarti o odiarti perchè loro stanno facendo il più bel gioco che si fa in città, la regia, che è una cosa bellissima.
Mi venne l'idea di comprare nel deposito dove portavano i vecchi treni una locomotiva e dei vagoni. Feci un grosso affare perchè comprai questa roba a peso di ferro, di rottame, e dato che Sergio arrivava l'indomani a Madrid per vedere quello che avevo scelto andai a Madrid tutto euforico e gli dissi "a Se' ho comprato el treno ho fatto n'affare che non finisce mai". Ha cominciato a dire "...è abituato con Ponti e De Laurentiis... il treno e tutte ste cose...". Io che non sono tanto calmo mi arrabbiai più di lui e uscii. Entrò un giornalista spagnolo che aveva un appuntamento con lui e disse "signor Leone, neanche John Ford ha mai comprato un treno per i suoi film". A sentire questa cosa, che faceva notizia, urlò "...richiamate Cavallo Pazzo... riportatelo indietro..." E il treno lo comprò. Fu affittato per altri film e fu utilizzato in "giù la testa", dove si fece un modellino per lo scontro ma per la battaglia finale lo ribaltammo nel campo con delle gru speciali.
A ogni ciak si dovevano caricare 300 fucili e ci fu qualche ferito per i sassi che entravano nei fucili e partivano come proiettili anche col la carica a salve. E lui imperturbabile: "facciamone un'altra". Però bisogna concedere a un grande artista, un grande autore, a uno che ha creato un genere, che ha fatto lavorare tante persone e che a lavorarci
insieme si potevano provare tutte le sensazioni: arrabbiature, amicizia, affetto, risate. Si viveva veramente in un clima particolare. Poi eravamo forse un po tutti matti. Forse no, o forse si.
How were added the words "Sean Sean..." to DYS score
Durante moltissime prove e ascolti della musica di "giu la testa", quella che adesso è "sean sean", la musica era quella ma Sergio diceva che mancava qualcosa, ed era d'accordo pure Morricone. La moglie di Leone uscì con una battuta. Disse: ma provate un po a metterci il nome del personaggio che forse da qualcosa. Ed è così che è nato "sean sean "che è stata la fortuna di quella bella musica.
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English please...
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With this transcription you can now use an online automatic translator like Babelfish (or Google) to translate into english or other language. Something could be badly translated, but if I try to translate many things will be wrong for sure.
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English please...
Well Peacemaker, since I started this topic, I sort of feel obliged and I promise I will translate it into english, but you have to wait until sunday august 18th, as I'm off to the Swiss Alps for a week.
Forget about the Google translation, as it comes out as rubbish.
By the way, in my first post I forgot to mention that Claudio Mancini started in movies in the early fifties as electrician and gradually moved up the ladder to become a producer.
In his intersting interview, he described the opening scene of the siege of Leningrad much more in detail: what a movie it would have been.. :'(
So please be patient...Bye for now, you'll hear from me when I get back, promise! ;)
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Well Peacemaker, since I started this topic, I sort of feel obliged and I promise I will translate it into english, but you have to wait until sunday august 18th, as I'm off to the Swiss Alps for a week.
Thank you very much buddy! O0
In his intersting interview, he described the opening scene of the siege of Leningrad much more in detail: what a movie it would have been.. :'(
I`m especially interested about this and I hope that description is going to be with much details... I can`t wait till the august 18th. O0
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Another interesting anecdote: for OUTITW, Mancini managed to find in Madrid an old locomotive which he bought for what he thought was a very reasonable price. The next day Leone arrives in Madrid and as soon as he is told by Mancini that he bought this locomotive, Leone goes "Are you crazy???Get out of here!!!" A few minutes after that, a spanish journalist who wanted to interview him told him"You know Mr. Leone, not even John Ford bought a locomotive for his movies!" Upon hearing this, Leone shouts "Get that son of a bitch (Mancini) back!!" And the train made history in OUTITW..
My father asks if the locomotive is still somewhere. :) I ask, if you know which locomotive in the film it was.
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My father asks if the locomotive is still somewhere. :) I ask, if you know which locomotive in the film it was.
They had two; the locomotive that was purchased, and another one.
The locomotive that was purchased for the film was used as three different trains in the movie; the one in the beginning, the one that pulls Morton's train, and the one that carried the workers at the end.
The other one is the locomotive seen in most spaghetti westerns including Navajo Joe. You can see it in the shot when Wobbles crosses the mainline to reach Morton's train on the siding. You can see the locomotive speed by on the left side of the screen.
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Peace, do you happen to know who owns these trains now? It would be great
to see them up close and personal.
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Peace, do you happen to know who owns these trains now? It would be great
to see them up close and personal.
The second one is on display in LOS BARRIOS (Parque público).
(http://www.locomotoravapor.com/fotosupload/andalucia/040-2342.jpg)
The one that was purchased for the film I believe was scrapped.
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There's an old locomotive in Guadix. I have seen several pics in the past here or at SW board. Not sure if it was used in OUTW, but for sure in many shootings.
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How were added the words "Sean Sean..." to DYS score
Durante moltissime prove e ascolti della musica di "giu la testa", quella che adesso è "sean sean", la musica era quella ma Sergio diceva che mancava qualcosa, ed era d'accordo pure Morricone. La moglie di Leone uscì con una battuta. Disse: ma provate un po a metterci il nome del personaggio che forse da qualcosa. Ed è così che è nato "sean sean "che è stata la fortuna di quella bella musica.
This is interesting, especially as it supports the notion that "Sean, Sean, Sean" refers to Mallory rather than Nolan. But how reliable is Mancini on this point? What exactly was his participation in the making of the film? From Frayling I gather that at this point he was a partner in Rafran and acting somewhat in the capacity of a producer (for example, he acquired the treatment Mexico, on which DYS was based). But was he actually present at the sessions between Morricone and Leone? Why no mention of Carla Leone, who claimed she was there during "one of the early conversations around the piano" (and who suggested replacing "Wah, Wah, Wah" with "Sean, Sean, Sean")? These oral testimonies actually raise more questions than they answer.
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There's an old locomotive in Guadix. I have seen several pics in the past here or at SW board. Not sure if it was used in OUTW, but for sure in many shootings.
It's not in OUATITW.
It's the Prussian-style locomotive that was used in A Bullet for the General.
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Thanks for the info Peace. You are a true connoisseur of locomotives.
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Why no mention of Carla Leone, who claimed she was there during "one of the early conversations around the piano" (and who suggested replacing "Wah, Wah, Wah" with "Sean, Sean, Sean")? These oral testimonies actually raise more questions than they answer.
Actually he confirms that was Carla who suggested the solution.
"La moglie di Leone uscì con una battuta. Disse: ma provate un po a metterci il nome del personaggio che forse da qualcosa"= Leone's wife came out saying: but try to put in it the name of the character, maybe it give something.
You missed the key word "moglie".
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The locomotive that was purchased for the film was used as three different trains in the movie; the one in the beginning, the one that pulls Morton's train, and the one that carried the workers at the end.
So they masked it three different ways, right?
The one that was purchased for the film I believe was scrapped.
Pity. :(
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So they masked it three different ways, right?
Exactly.
If you look closely the wheel arrangement and the shape are all the same.
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Exactly.
If you look closely the wheel arrangement and the shape are all the same.
So I probably have it wrong in my written work... hm-hm. ;D
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The correct term I've seen used is "dressed" instead of masked
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The correct term I've seen used is "dressed" instead of masked
I was translating directly from Czech, and maybe even there it isn't the right term. ;D
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Actually he confirms that was Carla who suggested the solution.
"La moglie di Leone uscì con una battuta. Disse: ma provate un po a metterci il nome del personaggio che forse da qualcosa"= Leone's wife came out saying: but try to put in it the name of the character, maybe it give something.
You missed the key word "moglie".
Yup, I did. Thanks.
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English please...
A promise is a promise: I took Piribiriboing's transcript with me to Switzerland and on a rainy afternoon, I translated it. Enough of that: "When you have to write you write, don't talk!", so here it is:
I stopped being a producer and became an organizer and executive producer. While I was working on a movie, I met Sergio Leone and he proposed to make OUTITW. I was quite surprised, since I never made a western and Sergio was on his fourth.
He told me: "Go to Spain and choose the locations, since you are fresh and you love westerns!"
This was an act of trust, as normally the set designers take care of the locations.
And he asked me to play Bronson's brother, the one that was to be hanged, after looking at thousand actors who resembled Bronson, even in the newspapers, but in the end he selected me. He told me to grow a beard and he let his grow at the same time. I then cut it off, but he kept his.
While shooting the hanging scene, we were in the Monument Valley, after realizing that I could easily keep my balance on the boy's shoulders, I told Sergio: "Look, let's forget about the vest which is normally used for movie hangings, as people can easily spot the trick; I'll keep the rope in my hands behind my back and if anything happens, I just let the rope go."
But at one point I lost my balance and instead of letting go, I instinctively tightened my hands on the rope and I almost hanged myself!
He kept me 2 days in the Monument Valley and on the evening of the second day, since the boy was tired, he used a stepladder instead and in the end they left me on the ladder and everybody went back to the hotel. They had left a car with the keys in it and by the time I eventually got back to the hotel, everybody was already under the shower..!
It was during OUTITW that a job which I liked became a passion and turned into an adventure.
The passion started with Sergio, when looking at his professionalism and perfectionism. He was always the first to arrive on the set and the last one to leave.
He could break the crew's back with work, but he sure knew how to praise them and motivate them.
It's not easy to find a director with all these positive traits.
As a man, he very often made me f....ng angry, but these things can happen. Maybe I made hin even angrier, but as a man, never about the job.
Sergio, while he was producing "My name is nobody", called me desperately, it was almost like an SOS. He had some major disagreement with his executive producer and he wanted me to replace him. So it happened, and my adventure with Sergio started again.
I produced with him "Un genio, due compari e un pollo".
I knew that OUTIA was to become a huge project and I happily agreed to work in it, also because it was a big challenge. I had a double function, as I also represented a Company which gave me much more power than just being an executive producer.
It was a troubled and tiresome movie, but a major film which I'm very proud of and a movie people still talk about.
Sergio had several thousand photos of that period: he wanted everything to be perfect., but he always kept an european touch. He never really fit into the Hollywood mentality.
Moreover, it was a movie about jewish gangsters...it wasn't easy. But he succeeded.
The movie was 4 hrs and 30 min. long, but the one you have seen is only 3 hrs and 40 minutes. Probably no theater owner would have screened the 4,30 version. But it was really much better!
The opening scene was at night: you could see the heads of 3 men walking. The camera then backtracks and you see 2 men walking holding the third one in the middle and when you see the whole body, you realized that the one in the middle had his feet in two cement buckets. So they were carrying the man to the pier where they had to throw him into the water.
They reach the edge of the pier and throw the man who was still moaning into the sea where he naturally drowns.
The camera would follow the immersion underwater and at the bottom of the sea you could see many corpses, some of them skeletons, floating suspended in the underwater current as their feet were cemented.
Then the camera would re-emerge and reveal the other "normal" New York.
There was a lot of talk about Leningrad. Sergio had a lot of things in his mind, but almost nothing in writing, but he would describe what would have been the opening scene.
It showed a theater where an orchestra was rehearsing. The rehearsal finishes and a man puts his instrument back in its case.
He leaves the theater, the camera backtracking in front of him, that's important.
He starts walking in the street and you can see a devastated city, buildings gutted by bombs etc.
A tram passes by and the man catches it. He sees the ruins from the tram which is now moving.
All this without a single cut: how Sergio intended to do this, I really don't know.
The tram arrives at the end station, the man leaves and walks 100 meters to a small house; he enters and there is a woman.
While they embrace, the camera turns and you see a window, then a river and across the river 1.500 german panzers in position.
I said: "Sergio, you wouldn't be able to frame 1.500 panzers not even if they were small cardboard models! On screen you could probably frame 150!" But he envisioned 1.500!
I even told him that if he ever had to film the expedition of the 1.000 Garibaldi soldiers (an episode in italian history), he would have asked for 1.500 soldiers...!
There were also some dramatic episodes. One of the 3 actors waiting for Bronson at the train station, "Knuckles" Al Muloch, a canadian actor, committed suicide.
During the shooting, I realized there was something wrong with the guy: he would refuse to act and he stopped eating.
Yet I couldn't understand what was wrong with him.
We were all staying in a 5 storey building which we used as our hotel, in a town called Guadix. On Al's second but last day of shooting, while I was climbing the stairs, I saw through the window a duster falling to the ground. I heard a loud noise.
It was he who had jumped from the 5th floor.
I ran and told everybody not to touch him and while I was wetting his lips with water, I hear a voice behind my back: "Claudio, get the costume off his body! We need it for tomorrow!"
I turned around: it was Sergio.
This is how cynical one can be... but all for the movies.
The directors are like that, they can be cynical, passionate, they can praise you or hate you, but all in the name of cinema.
Directing is the best game in town, it's simply beautiful!
I got the idea of buying in an old depot in Spain a train and a locomotive. I thought it was a good deal, as I got it almost a the cost of scrap iron. And since Sergio was supposed to arrive in Madrid the next day to check what I had selected, I went to Madrid ful of excitement.
I told him: "Sergio, I got this train for what I think is a very good deal!"
He started mumbling:"....He is used to Ponti and De Laurentiis...the train and all this.."
I'm not a very calm man so I got even angrier than him and left.
A spanish journalist who had an appointment for an interview told Sergio: " Mr. Leone, not even John Ford ever bought a train for his movies!"
Upon hearing this and sensing that this would make the news, he shouted: "Get me Crazy Horse back! Get him back!"
And he bought the train.
We rented it out also for other movies and it was used for DYS. For the crash, we used models, but for the final battle with the help of special cranes we positioned the train on one side to the ground.
At every ciak, 300 rifles had to be reloaded and some people got hurt, since small stones would get into the barrels and they fired even with the blank ammo.
And Sergio would go: "Let's do one more take!"
But you gotta give it to him: he was a great artist, a great author, one who created a new genre and employed a lot of people and when you worked with him, you always had different experiences: anger, friendship, love, laughter. Maybe we were all a bit crazy at the time.
During the numerous rehearsals of the DYS soundtrack, the one that is called "SeanSean", the music was OK but Sergio tought there was something missing. Even Morricone agreed.
Leone's wife jockingly said: "Try to build in the name of the character, maybe that helps!".
So "SeanSean" was born, which made the music unforgettable. :)
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great stuff thanks Leonardo
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Yes, indeed. Thanky.
The movie was 4 hrs and 30 min. long, but the one you have seen is only 3 hrs and 40 minutes. Probably no theater owner would have screened the 4,30 version. But it was really much better!
The opening scene was at night: you could see the heads of 3 men walking. The camera then backtracks and you see 2 men walking holding the third one in the middle and when you see the whole body, you realized that the one in the middle had his feet in two cement buckets. So they were carrying the man to the pier where they had to throw him into the water.
They reach the edge of the pier and throw the man who was still moaning into the sea where he naturally drowns.
The camera would follow the immersion underwater and at the bottom of the sea you could see many corpses, some of them skeletons, floating suspended in the underwater current as their feet were cemented.
Then the camera would re-emerge and reveal the other "normal" New York.
My understanding is that this was scripted and never shot, so it's not part of the 4.30 version. The guy who was involved in the writing of that sequence left the project and took the idea to 99 and 44/100% Dead, where it was used. So then SL couldn't very well use it again.
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Thank you very, very much! Both of you who brought this to us. :)
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Oh, thanks! That was a really nice job! *big hug*
This Claudio must be a very brave guy. ;D That hanging scene, LOL...
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Thank you for post and translation Leonardo. Thank you piribiriboing. Interesting info on OUATITW, DYS and OUATIA.
The editing of OUATIA gets more confusing as more voices are heard. The 4 hr 30 min version was that complete? I would imagine the 40 minutes of footage that wasn't dubbed would make up the better part of the difference between that cut and the version shown at Cannes, and on DVD.
I saw an old newspaper article on the first television broadcast of OUATIA by NBC. There was a little bit about the editing for television. I guess the guy that did the editing for television, referred to the 4 hr 30 min version almost like it was finished.
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Thanks a bunch leonardo!
Very interesting stuff. I forgot that the locomotive bought for OUATITW was also used in DYS. I saw photos of the train before they dressed it up for OUATITW and it looks just as it does in DYS. For that film they just took all the decorations off.
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I saw photos of the train before they dressed it up for OUATITW and it looks just as it does in DYS.
Do you have a link to those photos? :)
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I no longer know where the website with the photos are.
BUT, in the documentary Westerns Italian Style, made in 1969, they have video of the production company moving the locomotive to the Sweetwater location before it was dressed up.
http://www.youtube.com/watch?v=Km0igWmaBIk&mode=related&search=
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BUT, in the documentary Westerns Italian Style, made in 1969, they have video of the production company moving the locomotive to the Sweetwater location before it was dressed up.
http://www.youtube.com/watch?v=Km0igWmaBIk&mode=related&search=
That's great! O0
Unfortunatelly, I can't understand the rest that much... maybe with higher volume it would be better, I admit, but I don't want to do that now. ;D