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| | |-+  What is the most priceless GBU quote/line from the movie?
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Author Topic: What is the most priceless GBU quote/line from the movie?  (Read 31443 times)
drinkanddestroy
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« Reply #90 on: July 22, 2012, 09:33:15 AM »

Afro

the lines are either where the dough splits or where its twisted or where the particular housewife decorates it, it can be pure arbitrary, its certainly not going to look like sliced bread shape

yeah but that's my point: if you say the shape is cuz it was just plopped in the oven randomly without a specific shape, then does it make much sense to say that it would be specifically shaped/decorated on top? Or does the fact that it was shaped on top indicate that this was made specially in that shape, ie. in a pan, and therefore it indeed is Mediterannean?

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« Reply #91 on: July 22, 2012, 09:36:03 AM »

Yes, I don't know anything about guns, but Frayling said some of those big guns were borrowed from a Spanish museum and are from a different era than the Civil War. He likes to say that Leone uses surface detail to make things appear authentic, while then screwing around with shit per his liking. So it's not that Leone didn't understand that some of the big guns were anachronistic; he just knew that he'd created authentic surface detail and wanted to fill it in with stuff he liked. Similarly, supposedly Blondie's cartridges (in the gun we see him cleaning before shooting Tuco's men in the hotel room) are anachronistic for the Civil War.

cj, did you read the final paragraph of my previous post? I said I won't argue with our resident Professor. And I never brought up the issue about the bottles (though once it was mentioned, I repeated what Frayling said); my issue was with the bread  Wink

They could have been props but I would think he scrounged actual demijohns but if we are going to get that nitpicky I'm sure a geologist could spot European rock formations or a biologist the Mediterranean olive bushes   Wink

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« Reply #92 on: July 22, 2012, 09:37:24 AM »

yeah but that's my point: if you say the shape is cuz it was just plopped in the oven randomly without a specific shape, then does it make much sense to say that it would be specifically shaped/decorated on top? Or does the fact that it was shaped on top indicate that this was made specially in that shape, ie. in a pan, and therefore it indeed is Mediterannean?

It just means Steven's Mexican wife got creative, my grandmother used to do stuff like that with food.

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« Reply #93 on: July 22, 2012, 09:39:10 AM »

Quote
He likes to say that Leone uses surface detail to make things appear authentic, while then screwing around with shit per his liking.

Sounds about right. Afro

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« Reply #94 on: August 08, 2012, 09:53:01 AM »

Yeah, and Eastwood even made some changes in the dubbing studio (eg. he suggested changing Sentenza's name to Angel Eyes; if you look closely at the actor's lips, you see them saying "Sentenza"; also, you can see Eastwood's lips saying the original line "IDIOTS -- it's for us" before changing it in the dubbing studio to "IDIOTS -- it's for you." (Thanks to Frayling's Blu Ray disc commentary for that).

I think I recall reading about how Age/Scarpelli's stuff wasn't used -- probably a statement that Leone made to Frayling -- but I wonder if that's really true; if so, why would they have been given credit for the screenplay?
In OUATIA, Leone hired Normal Mailer to write the script; Mailer did a significant amount of work but (as I recall reading in STDWD), Leone ultimately did not use it, and said that hardly any of Mailer's work made it into the final movie -- and Mailer's name is nowhere to be found among the 6 (!) screenwriting credits. Well that seems similar to what supposedly happened with Age/Scarpelli with GBU.

Sergio Donati and others who worked for Leone seem to really resent the fact that he was stingy about giving credit to those who worked for him; Leone even refused to give credit to Donati for his work on the GBU screenplay (I guess you'd have to call Donati an "uncredited script doctor"?) So why would Age/Scarpelli get the top screenwriting credit if their material really wasn't used? Was Leone being generous to them? Was it in their contract that they had to get a screenwriting credit? Was Leone trying to cash in on their popularity? Or did they indeed contribute to the final product, despite what Leone later said?

Like so many other things, we may never know....

(Maybe someone can ask Vincenzoni?)




I actually just took a look again at the GBU chapter in STDWD, and it indeed seems that hardly anything of Age-Scarpelli was used, I think Frayling sais that this matter is one thing that Leone and Vincenzoni agree on!

So in that case, I wonder why Leone gave them a screenwriting credit. Was he contractually obliged to do so? Did he hope that would help to sell the movie

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« Reply #95 on: December 30, 2012, 02:34:33 PM »

One quote that does not get mentioned which I think is very under-rated is.........


.......and so Blondie, its goodbye.


Then the "Carriage of the Spirits" kicks in and then the whole dynamic of the film completely changes

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« Reply #96 on: February 23, 2013, 11:41:48 PM »

"$200,000 is a lot of money. We're gonna have to earn it.", I love the look on Tuco's face after he hears this because it means they must work together one last time to get the gold [before they screw each other over one last time haha]. For me personally, I think Blondie's trying to teach Tuco a lesson about not being greedy, and being fair.

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« Reply #97 on: February 24, 2015, 08:04:26 PM »

Israeli Foreign Minister Avigdor Liberman said Israel should just attack Iran and not talk about; he thinks it ruins the deterrent when Israel talks about it. What did Liberman say? That's right: "When you have to shoot, shoot; don't talk!"  Grin http://www.timesofisrael.com/if-you-want-to-shoot-shoot-urges-liberman-deriding-israels-whining-on-iran/


btw, did anyone ever say who came up with that line? Was it Vincenzoni, Donati, or someone else?

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