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Author Topic: attention to detail...  (Read 4005 times)
iamboredofLeone
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« on: February 20, 2005, 09:52:38 AM »

Leone's attention to detail in this film is incredible .like when Jill and Sam are talking after the funeral and you can see people walking of in the distance.Most directors just would'nt bother with that kind of stuff but I guess leone is not an average director

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SeanSeanSean
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« Reply #1 on: February 20, 2005, 06:24:09 PM »

You said it.
All the goings on in Flagstone when Jill walks through itl  when Frank is stalked and  the railway workers at Sweetwater station and so on...so rich!

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Rashomon
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« Reply #2 on: February 21, 2005, 01:21:55 PM »

What can I say, Leone's a master.

OOATITW was his best film, the dollars trilogy just led up to them.

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Mr.Cho-Cho
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« Reply #3 on: March 25, 2005, 12:26:51 PM »

It's amazing how some of his shots involve so much background action, although most of the times i focus on the main character. But when Jill's at the station and you hear what she hears as she walks round, it's just amazing. This film may be my new favourite above good bad the ugly. I could watch it endlessly and never be bored!

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« Reply #4 on: March 25, 2005, 07:39:04 PM »

A master of detail is better. Don't forget harmonica's close up on the eyes....just before the fight with Frank...wonderful.

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« Reply #5 on: March 27, 2005, 04:35:50 AM »

I was just re-reading "Something To Do With Death" and Frayling relates a legendary story from I think it was an assistant production manager who tells the story of the time Leone needed another detail close up on the spur.

Ok the guy thinks we'll get everthing done and then shoot the spur. So the guys goes up to Leone and says he's ready for the detail on the spur. So Leone then tell's him ok we'll need the stagecoach, hoses, 50 extras etc., etc., for background on the deatil on the spur, lol.

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SeanSeanSean
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« Reply #6 on: March 27, 2005, 07:01:56 AM »

I was just re-reading "Something To Do With Death" and Frayling relates a legendary story from I think it was an assistant production manager who tells the story of the time Leone needed another detail close up on the spur.

Ok the guy thinks we'll get everthing done and then shoot the spur. So the guys goes up to Leone and says he's ready for the detail on the spur. So Leone then tell's him ok we'll need the stagecoach, hoses, 50 extras etc., etc., for background on the deatil on the spur, lol.
Today, Directors would probably revert to computer generated animation to achieve this effect, like Cameron in Titanic. But what has'nt been equalled yet, is the coherence of the background effects. For example: at the end, when the train pulls up to sweetwater station, everywhere you lQQk the people are doing something, even a couple of workers on the roof rafters of the station itself in the distance. How rich!

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« Reply #7 on: March 28, 2005, 07:54:42 PM »

I really like how Leone has people out windows and out doorways doing something, even if the camera just catches one or two things for a second, it adds so much realism. Like in GBU in Angel Eyes' "office", or in the cantina that Frank and Harmonica are talking in there's so much going on as far as the eye can see. Outside of the door.

And it's not just a bunch of people who walk back and forth when a guy offscreen says "Alright, walk across the street!"

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« Reply #8 on: April 11, 2005, 05:36:59 PM »

Is'nt it just great how this film holds up. (the others too BTW).
I mean there so realistic of a bygone era....they'll never age. Our grand children will probably still enjoy them as we do.

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« Reply #9 on: April 12, 2005, 04:37:02 PM »

One thing in regards to this topic that I just noticed last night:

Look very closely in the windows of the train during the opening scene.  As it pulls away from the station, you can see various passengers inside stretching, looking out through the windows, etc.  You have to actually pay attention to the train, as it's kind of hard to see, but it's neat that Leone would put that in there at all.

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« Reply #10 on: April 12, 2005, 08:35:51 PM »

Caught "The Paleface" last night on TCM, they were doing a Buster Keton Festival and did a great special feature on Buster's independent film company. They told about Keaton's insistance on loading his films with accurate historical details and pointed out examples of some of them They actually built a replica steam engine (The Rocket) with stagecoach like carriges, and an early wooden peddless bicycle that was donated to the Smithsonian after the filming. 

I'll continue on the "30 Westerns in One" thread.

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