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Author Topic: Conversations avec Sergio Leone  (Read 14817 times)
cigar joe
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« Reply #15 on: November 11, 2008, 06:05:01 PM »

Wow lot of neat sounding topics  Afro

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« Reply #16 on: May 28, 2009, 10:48:04 AM »

Check out pages 5-7:

Noël Simsolo: Entretien

« Last Edit: May 28, 2009, 01:59:58 PM by Novecento » Logged
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« Reply #17 on: May 28, 2009, 01:16:06 PM »

Uh, thanks, I guess . . . a translation of the following would help a lot:
Quote
Pour en revenir à Leone, que pensez vous des éditions de ses films en DVD ?
No comment…
Si. Je dis simplement qu’il est dommage que des gens qui n’ont pas connu Leone et qui vont voir les survivants, les gens qui ont travaillé avec lui, et qui ne font pas référence à mon petit travail d’entretiens avec lui, puissent dire autant de choses fausses. C’est que ça les arrange. Ces gens-là ont tellement chié sur Leone pendant des années, maintenant on doit en dire du bien… mouais… Non, c’est lamentable d’entendre un anglais, qui est historien du cinéma dans une école, réinventer complètement la gestation, le travail, la réalité, d’un film comme Giu la testa. Et il ne parle même pas de ce qui est pourtant dit clairement par Leone dans mon livre (je m’excuse de me citer) : que ce n’est pas lui qui devait faire le film, que ça c’est très mal passé avec Steiger, ce que Coburn m’a confirmé. Il raconte son histoire à lui par rapport aux témoins qu’il a vu vingt ou vingt cinq ans après. Tant pis, qu’est ce que vous voulez que j’y fasse, c’est pas mon problème. Si Sergio a passé la barque de Charron et est dans l’enfer grec, il doit se marrer comme une baleine. Je pense que ces gens-là feraient bien de travailler un peu de manière plus saine et de ne pas être aussi journalistes. C’est dommage. Ce sont les mêmes personnes qui écrivent des biographies officielles de Eastwood. Ils ont pris un marché, et bien qu’ils prennent le marché. Qu’est ce que vous voulez que ça me foute. Rien ne m’enlèvera mes rapport d’amitié avec Sergio. Tant pis pour eux. Ce qui est dommage seulement c’est que des gens prennent pour vérités des choses qui ne sont pas vraies.

Tant pis pour nous aussi…
Je ne vais quand même pas, à chaque fois que paraît un bonus DVD, envoyer une lettre en disant : « Relisez mes entretiens, j’ai la bande, croyez moi, ce que vous dites est faux. » C’est un jeu qui ne m’intéresse pas du tout. Remarquez d’ailleurs que ces gens-là, quand ils font des bouquins, ne citent même pas mon bouquin d’entretiens alors que c’est le seul qui existe au monde. Pourquoi ils ne le font pas ? Parce que ça contredirait les thèses qu’ils inventent. C’est leur problème, c’est par malhonnêteté foncière, ils ont peut être un intérêt à ça, peut-être même un intérêt pour les héritiers de Leone, je n’en sais rien, je m’en fous.

Dans un bonus, les gens racontent ce qu’ils veulent, libre aux gens qui font ce bonus de le garder ou pas. Moi j’ai vu des bonus de gens en France où un mec dit une connerie, je ne vais pas citer de film ni rien, mais un film où quelqu’un dit : « Et dans ce film il y a la plus grande idée de cinéma qui ait jamais été reprise ailleurs : la caméra qui va vers l’oeil de quelqu’un pour montrer qu’il se souvient ». Et on garde. Le mec affirme. Sur un film de 47…Depuis 1905, le cinéma fait ça! Si les gens qui prennent quelqu’un qui leur dit une connerie ne sont pas capables de voir que c’est une connerie, c’est leur problème.

Pensez vous éventuellement consacrer un jour un livre d’analyse à l’oeuvre de Sergio Leone ?
Je ne crois pas, non. Vous savez j’en ai un peu marre d’écrire sur le cinéma. Là, je viens de finir un bouquin sur le film noir, c’est très fatiguant, c’est très long. Je préfère inventer des histoires. Je ne sais pas. Pourquoi ? Est-ce nécessaire?

« Last Edit: May 28, 2009, 01:21:17 PM by dave jenkins » Logged


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« Reply #18 on: May 28, 2009, 03:06:30 PM »

Jenkins, there's a whole chunk before that too, but yes the bit you cite is the most interesting.

He is basically complaining about people giving Leone a really bad reputation by not fully accepting what is said in his book of interviews with him. I've translated the bit below where he is having a massive go at Frayling:


Non, c’est lamentable d’entendre un anglais, qui est historien du cinéma dans une école, réinventer complètement la gestation, le travail, la réalité, d’un film comme Giu la testa. Et il ne parle même pas de ce qui est pourtant dit clairement par Leone dans mon livre (je m’excuse de me citer) : que ce n’est pas lui qui devait faire le film, que ça c’est très mal passé avec Steiger, ce que Coburn m’a confirmé. Il raconte son histoire à lui par rapport aux témoins qu’il a vu vingt ou vingt cinq ans après. Tant pis, qu’est ce que vous voulez que j’y fasse, c’est pas mon problème. Si Sergio a passé la barque de Charron et est dans l’enfer grec, il doit se marrer comme une baleine.

No, it is sad to hear an English man, who is a cinema historian in a school, to completely reinvent the gestation, the work, the reality of a film like Giu La Testa. And he does not even speak of that which is however said clearly by Leone in my book (I excuse myself for citing myself): that it is not him was supposed to make the film, that [the film] went very badly with Steiger, this which Coburn confirmed to me. He tells his story to him in relation to witnesses who he has seen 20 or 25 years after. Tough, what would you want me to do, it is not my problem. If Sergio had crossed Charron’s fishing-boat and is in the Greek hell, he should be having a whale of a time.


I assume the last line is meant sarcastically but I'm not a native French speaker so may have got some of the nuances wrong...

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« Reply #19 on: May 28, 2009, 04:19:33 PM »

I don't think the end is sarcastic. He really thinks that Leone is laughing about all these guys saying bullshits about him.

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« Reply #20 on: May 28, 2009, 04:29:48 PM »

Very good translation, by the way.

A couple points:

- He is not "excusing himself", he only says "sorry for quoting myself"
-  "that [the film] went very badly with Steiger": he says that "things went very badly with Steiger". He's not saying that the film would have been better without Steiger. He's only talking about their relationships. I'm just claryfying.


In the following part, he says that the guys that write about Leone don't quote his book only because Leone himself contradicts their theories, and that many people who write about movies odn't know what they're talking about. He gives the example of a commentary on some DVD: the guy asserts that the first film to use a close up on an eye to introduce a flash back is from 1947, whereas "This has been used in movies since 1905!". That's their problem, he (Simsolo) is not going to fight against these guys.

The last question is "Do you think you're going to write an analyse book about Leone?" and the answer is, more or less: "no, it's exhausting to write about movies, i prefer making up stories; i don't know why."

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« Reply #21 on: May 28, 2009, 05:08:03 PM »

Thanks Noodles_Leone. Much appreciated  Afro

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« Reply #22 on: May 28, 2009, 06:53:06 PM »

Thanks, both of you.  Afro  Afro

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« Reply #23 on: May 28, 2009, 10:35:16 PM »

So Leone always planned to direct the film? Frayling made that up?

or am I missing the point (again)?


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« Reply #24 on: May 29, 2009, 01:12:04 AM »

I take it to mean just the opposite. Simsolo may be protesting what Frayling has reported, but it doesn't sound like they actually disagree.

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« Reply #25 on: May 29, 2009, 06:34:03 AM »

I take it to mean just the opposite. Simsolo may be protesting what Frayling has reported, but it doesn't sound like they actually disagree.


Yup, Leone claims in Simsolo's book that the whole debacle regarding who was to direct Giu La Testa was set up by UA from the very beginning in order to have Leone, against his will, direct it. This is supposedly particularly the case after Coburn and Steiger apparently refused to appear without Leone's direction. Frayling cites Leone's claim but then suggests that this was rather a compromise reached later on after the whole Bogdanovich affair had already happened.

Whatever the case, boy am I glad Leone ended up directing!

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« Reply #26 on: May 29, 2009, 06:39:26 AM »

I take it to mean just the opposite. Simsolo may be protesting what Frayling has reported, but it doesn't sound like they actually disagree.

Possible. May be Simsolo's ability to read English isn't great... or maybe he's not talking about Frayling (who's not the only guy to write about Leone)...

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« Reply #27 on: May 29, 2009, 06:43:41 AM »

Possible. May be Simsolo's ability to read English isn't great... or maybe he's not talking about Frayling (who's not the only guy to write about Leone)...

"an English man, who is a cinema historian in a school"... that has to be Frayling, right? Although he's actually an art historian to be precise.

« Last Edit: May 29, 2009, 06:45:21 AM by Novecento » Logged
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« Reply #28 on: May 29, 2009, 06:58:09 AM »

I'm not 100% certain.
Telling the truth, I don't know.
It would be strange since Frayling never contradicts him about what happened with Steiger.

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« Reply #29 on: May 29, 2009, 07:14:18 AM »

It would be strange since Frayling never contradicts him about what happened with Steiger.

I think what Simsolo is suggesting here is that Steiger, not Leone, was the cause of many of the problems between the two of them. If I remember correctly, Frayling seems to suggest that it was as much to do with Leone as Steiger but I would have to re-read that section. 

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