Sergio Leone Web Board
Films of Sergio Leone => The Good, The Bad and The Ugly => Topic started by: Clinton on December 10, 2015, 11:59:33 PM
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First, apologies for the long, long delay.
I have finally updated my website: www.gbu-book.net
The website may occasionally go offline for changes/maintenance.
I had actually never planned to print the book in 2016, 50 years after filming (1966).
The book will be printed in January, and then sent to the bookbinder.
The hardcover book is 417+ pages long (each page 26.5 x 30 cm; 135 g/m2 coated, matt paper) and will weigh around 2.5 kg. It will be distributed via Amazon.
It would be great if you could fill in the "subscribe" field on the website if you are potentially interested in the book. You will receive updates per email etc.
Best wishes,
Peter
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Very Cool Peter thanks for the update it's about time GBU has it's own book O0 O0 O0
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Very Cool Peter thanks for the update it's about time GBU has it's own book O0 O0 O0
I hope it is without the Cave scene ...
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I subscribed, great !!!
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Looks fantastic!
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I subscribed, great !!!
As did I. O0
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I subscribed too!
O0 O0 O0 O0 O0 O0
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Great! Will buy immediately...
The design is not my taste though, so much space wasted. Why is there no ''bleeding''? The images would be bigger, the design more interesting and less white paper visible.
Most interesting Leone book in years anyway...
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Well, the layout is conservative. I think it looks pretty sharp, though. I'm glad to see that some plates are in color.
Btw, I want this book to be really expensive. I'm thinking it shouldn't be less than $500.00. The Great Unwashed--PowerRR et. al.--should not be able to purchase a copy. This should be for elite fans only.
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Great! Will buy immediately...
The design is not my taste though, so much space wasted. Why is there no ''bleeding''? The images would be bigger, the design more interesting and less white paper visible.
Most interesting Leone book in years anyway...
Isn't the design pretty similar to your Steve McQueen book? The only difference I can see is that occasionally some of your images do "bleed" of the edge of the page.
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Great! Will buy immediately...
The design is not my taste though, so much space wasted. Why is there no ''bleeding''? The images would be bigger, the design more interesting and less white paper visible.
Most interesting Leone book in years anyway...
The format is roughly square (26.5 x 30 cm) with room for a legend, and tailored for stills scanned from medium format (6 x 6 cm) negatives, of which there are a lot in the book. If you enlarge them to maximal width, they don't look better and you have to sacrifice some of the image (overhang etc).
The width of the pages is 26.5 cm, quite a bit wider than A4 paper, and most of the stills are actually large in the original size. If a rectangular image/still is maximized in size within a roughly square format then white areas are inevitable. If you optimize the page format for such images, then the square format images will have a lot of white area underneath (or text etc) - you have to make a compromise for certain still formats. In fact, all in all, there is actually very little empty white space in the 417+ long book, except for a map (shown in an example) and vertical rectangular stills shown as full page instead of within a column. There is generally a border/frame around each page, which is typical for any book. We largely avoided full page (no border) images since it meant trimming/cropping the image. If you see the book if full size (26.5 x 30 cm) you will get a completely different "picture". We also avoided a playful layout, such as superimposed images, faded images in the background etc, since once you start you have to do it to the whole book. If we were making an article for a magazine or a short softcovered book, we would have used the stylish features of Adobe InDesign.
The key point is that you need to enlarge one of the sample pages to 26.5 x 30 cm (or enlarge one of the sample double pages to 53 x 30 cm) and then you will see that the images are quite large. Further enlargement will not bring much.
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Just a question of taste, I'm sure people will love it.
I put in over 1000 images in my McQueen book and I'm not a fan
of cropping either. But I'm a visual person and tried to give
the images as much room as possible without overdoing it.
And especially the best stills I gave a maximum of room,
full page if possible. One can 'bleed' without cropping quite easily
once the style is established early on...
I de-activate the reference photos here, they are quoted in the next posting...
http://i953.photobucket.com/albums/ae15/peckinpah69/demo6.jpg[/img][/URL
[URL=http://s953.photobucket.com/user/peckinpah69/media/demo10.jpg.html](http://i953.photobucket.com/albums/ae15/peckinpah69/demo10.jpg[/img[/URL
[URL=http://s953.photobucket.com/user/peckinpah69/media/demo8.jpg.html[IMG]http://i953.photobucket.com/albums/ae15/peckinpah69/demo8.jpg[/img[/URL
[URL=http://s953.photobucket.com/user/peckinpah69/media/demo7.jpg.html[IMG]http://i953.photobucket.com/albums/ae15/peckinpah69/demo7.jpg)[/URL (http://s953.photobucket.com/user/peckinpah69/media/demo6.jpg.html[IMG)
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Just a question of taste, I'm sure people will love it.
I put in over 1000 images in my McQueen book and I'm not a fan
of cropping either. But I'm a visual person and tried to give
the images as much room as possible without overdoing it.
And especially the best stills I gave a maximum of room,
full page if possible. One can 'bleed' without cropping quite easily
once the style is established early on...
(http://i953.photobucket.com/albums/ae15/peckinpah69/demo6.jpg) (http://s953.photobucket.com/user/peckinpah69/media/demo6.jpg.html)
(http://i953.photobucket.com/albums/ae15/peckinpah69/demo10.jpg) (http://s953.photobucket.com/user/peckinpah69/media/demo10.jpg.html)
(http://i953.photobucket.com/albums/ae15/peckinpah69/demo8.jpg) (http://s953.photobucket.com/user/peckinpah69/media/demo8.jpg.html)
(http://i953.photobucket.com/albums/ae15/peckinpah69/demo7.jpg) (http://s953.photobucket.com/user/peckinpah69/media/demo7.jpg.html)
Your Steve McQueen book looks superb! Great work. The page layout design is certainly more creative than in my GBU book. We chose a more conventional textbook-like layout, although we did explore full bleed pages (which, I agree, are very appealing), fading edges etc.
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Great news! Looking forward to this book! day-1 must buy for sure! It better not be over $500 though, haha! I have kids to feed, you know....
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Great news! Looking forward to this book! day-1 must buy for sure! It better not be over $500 though, haha! I have kids to feed, you know....
Try to sell the kids ...
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Great!!!!
anything on the music?
bruce
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Great!!!!
anything on the music?
bruce
There is a chapter (Chapter 8) titled "Music (Original Score) - Ennio Morricone", which includes short interviews with Ennio Morricone and Domingo Contreras (harmonica player in the Betterville prison orchestra), and a longer interview with Bruno Battisti D'Amario (played the guitar in Morricone's Western scores).
Alessandro Alessandroni kindly supplied a photo of "Il Cantori Moderni", which provided the vocals for the soundtrack.
Thanks to help from Diego Montero (Salas de los Infantes, Burgos), we have identified most of the extras in the Betterville prison orchestra, and there are a lot of behind-the-scenes stills from this sequence etc. There is no analysis of Morricone's GBU score, but this has been very nicely covered in Charles Leinberger's book "Ennio Morricone's The Good, the Bad and the Ugly - A Film Score Guide".
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There is a chapter (Chapter 8) titled "Music (Original Score) - Ennio Morricone", which includes short interviews with Ennio Morricone and Domingo Contreras (harmonica player in the Betterville prison orchestra), and a longer interview with Bruno Battisti D'Amario (played the guitar in Morricone's Western scores).
Alessandro Alessandroni kindly supplied a photo of "Il Cantori Moderni", which provided the vocals for the soundtrack.
Thanks to help from Diego Montero (Salas de los Infantes, Burgos), we have identified most of the extras in the Betterville prison orchestra, and there are a lot of behind-the-scenes stills from this sequence etc. There is no analysis of Morricone's GBU score, but this has been very nicely covered in Charles Leinberger's book "Ennio Morricone's The Good, the Bad and the Ugly - A Film Score Guide".
Hi Clinton,
I'm very excited about the inevitable release of your book. I'm sure it's well worth the wait.
Do you mention anything about the unused portion of track 5 of the expanded soundtrack? I suspect it was intended for the Grotto scene.
Please see reply #23 in the following thread: http://www.fistful-of-leone.com/forums/index.php?topic=7016.15
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Good ;D
Gclub (http://www.gclubth.com/)
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Hi Clinton,
I'm very excited about the inevitable release of your book. I'm sure it's well worth the wait.
Do you mention anything about the unused portion of track 5 of the expanded soundtrack? I suspect it was intended for the Grotto scene.
Please see reply #23 in the following thread: http://www.fistful-of-leone.com/forums/index.php?topic=7016.15
Thanks, I had a look at the thread. The Grotto scene is described in the book with a couple of stills, but I didn't chase up the soundtrack issue. Like a lot of others, I would have preferred to see the Grotto scene as part of the separate bonus material (on a DVD/Blu-ray disk), rather than integrated into the film. It just doesn't fit in nicely.
It would be great if someone in Rome had access to unused takes and deleted scenes etc so that we could see the complete Socorro scene and other deleted/unused material.
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Some new photos of the deleted bread scene have surfaced:
http://thebadnet.blogspot.ca/?m=1
Will you have more info on this scene in your book?
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First, apologies for the long, long delay.
I have finally updated my website: www.gbu-book.net
The website may occasionally go offline for changes/maintenance.
I had actually never planned to print the book in 2016, 50 years after filming (1966).
The book will be printed in January, and then sent to the bookbinder.
The hardcover book is 417+ pages long (each page 26.5 x 30 cm; 135 g/m2 coated, matt paper) and will weigh around 2.5 kg. It will be distributed via Amazon.
It would be great if you could fill in the "subscribe" field on the website if you are potentially interested in the book. You will receive updates per email etc.
Best wishes,
Peter
Take my money! Please!
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Just amazing to think how these photos make you feel isn't it. What was that scene all about? Presumably a bit of "padding" whilst on the way to Sadhill cemetary.
Sends a shiver down your spine though doesn't......!
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Some new photos of the deleted bread scene have surfaced:
http://thebadnet.blogspot.ca/?m=1
Will you have more info on this scene in your book?
Amazing! I asked Peter some years ago if he was covering this in the book and he said yes.
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The Van Cleef shot is also on this Italian program or pressbook.
(http://5.t.imgbox.com/6B3bF6nq.jpg) (http://imgbox.com/6B3bF6nq) (http://8.t.imgbox.com/ANIOZ8fb.jpg) (http://imgbox.com/ANIOZ8fb)
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Just amazing to think how these photos make you feel isn't it. What was that scene all about? Presumably a bit of "padding" whilst on the way to Sadhill cemetary.
Sends a shiver down your spine though doesn't......!
The scene (just after the prison camp sequence) is described in the original Italian script, and translated/described in the book (see below). I did not include any stills from this scene - in fact, I only have one color still from this scene. However, a few stills from this scene turned up at an auction at Heritage Auctions in June/July, 2015. There was a lot with about 180 (mostly rare) GBU stills, most of which were damaged, but around 50 seemed to be in very good condition - the quality of the prints actually looked great. Some of the prints were crops from medium-format stills. I was not the winning bidder, but you can view the stills at Heritage Auctions - search "Sergio Leone" or something similar, and then browse (scroll down) through past auction archives. From memory, there were also lots from FOD and FDM.
The scene continues after the Betterville prison camp sequence:
Prairie landscape with a river. Blondie and Angel Eyes are riding side by side. They come closer together, slow down, and then stop at a river bank. They get down from their horses, and while the horses are drinking, Blondie lights a cigar and says, “What have you got to do with this business?” Angel Eyes sits down on a stone and replies, “It’s a curious story . . .” He takes some smoked meat, bread, and a bottle out of a bag, and continues, “. . . And I happened by chance to come across it . . .” He takes a knife and begins to cut the bread and meat into portions, then extends his explanation: etc
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http://movieposters.ha.com/itm/western/the-good-the-bad-and-the-ugly-by-foto-vaselli-pea-1966-photos-177-35-x-5-and-7-x-9-total-177-items-/a/7109-87928.s?ic4=GalleryView-ShortDescription-071515
Here's the link to auctions for all 3 movies :
http://movieposters.ha.com/c/search-results.zx?N=54+790+231&Nty=1&Ntk=SI_Titles&Ntt=foto+vaselli&ic3=ViewItem--SearchComparable-
Holy crap! Damn I wish I had know about this auction. There are 3 more stills from the bread scene, at least one new one from the soccoro scene and if you look at the fafdm and for auction there are some more unseen Socorro shots in there too. And you can view the auctions in decent resolution :)
Thanks for pointing this out Clinton!
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I am curious, how much money do photos like these go for?
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Amazing!
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Incredible!! Thanks for this info.
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Here are all the (mostly) new shots from the soccoro scene, (description provided by Clinton).
http://imgur.com/a/qro83
Socorro town square –
We observe a large post, reminiscent of gallows, being erected on a podium. Now, the flag of the Confederates comes into the frame. The camera travels backwards, widening the angle of view, and we see the town square of Socorro. Workers are securing the structure, which initially resembled gallows, and is decorated with Confederate flags. Surrounding the square are low level adobe houses, typical for New Mexico. More and more inhabitants are converging on the scene. Suddenly, a group of gentry emerge, including a Confederate army officer and a pompous 50 year old citizen with a top hat and bow tie. The small group climb onto the podium, and the pompous nobleman begins a patriotic speech aimed at inspiring the young men who are present. The speaker cries out, “Fellow citizens. Friends! . . . I bring you news from the invincible General Sibley, who at this time is based in Albuquerque. Sibley, the man who with less than 3,500 men and in less than three months has raised the Confederate flag in the states Arizona, New Mexico and Texas, has brought me some sad, but not alarming, news.” The camera pans over the crowd as the speaker continues . . . “It is true that the counter-offensive of Colonel Canby is particularly heavy at this point. It is also true that the Union army has much more resources that our’s. Unfortunately, it is also true that Colonel Canby has recaptured Santa Fé, (he raises his voice) but it is absolutely nonsense what some claim, that General Sibley’s troops have been wiped out . . .” Murmurs are heard from the crowd as the speaker continues, “. . . Our soldiers, our brothers, are not fleeing, despite deficient arms and equipment . . . but, instead, they are gradually withdrawing and holding a brave fight, like no others.” Someone in the crowd applauds, as the speaker continues, “We in distant Carolina or distant Virginia are pressing our overbearing and well-planned strategies against the North.” The crowd claps their hands, and the speaker adds, “Our bodies versus their cannons . . .” Further applause. The crowds emotions are intensified: “Citizens . . .” Change of scene.
Saloon and bedroom in Socorro –
Blondie is lying stretched out on a bed and tries to allure a tanned and sumptuous woman, as the speaker’s voice intrudes, “. . . General Sibley is calling for men, the commander of the Confederates needs men, and that’s why I am here. I hope that your hearts won’t shun this appeal. Enlist now!” Blondie looks in the direction of the window and says (to the woman), “And I want you here . . .” He indicates to the woman that she should close the window. She gets out of the iron bed, and as she is in the process of closing the window, we hear the last words of the speaker: “ . . . To oppose those who are invading our land and trying to change our way of life, enlist now!” After the window has been closed, there is less light in the room and it is quiet. The young woman returns to Blondie, and opens the last buttons of her corset.
Socorro town square –
A few young as well as older men emerge from the crowd and gather around the podium, where an officer organizes them into a queue. The speaker’s voice continues to rise, “. . . And the hope of victory will transform to certainty. Your fallen comrades summon you! Those with unshaken hearts and with strength in their arms shall not cower from today’s setback if they want to stride with their heads high tomorrow.” Applause and cheers. The speaker has finished. All of the men who have been convinced by the patriotic frenzy rejoice and some take the flags from the podium which had been flapping in the afternoon breeze.
Close-up of a knothole in a fence –
The knothole fills with a dark, glittering and observing eye . . . Under the command of the Confederate officer leading the column, the newly enlisted volunteers march between two rows of women and children, who are waving and sending out kisses with their hands. With high and elated voices the volunteers sing as they march away, sending a whirl of dust up into the air. Fading singing . . . From behind the fence, Tuco is listening to the singing, and then he slips away.
The dust has settled in the town square, as well as the enthusiasm of the women, elderly, and the children, who one by one head back home. Shortly afterwards, all that remains is a decorated podium. Tuco, chewing and spitting tobacco, lethargically approaches the town square and he is towing his horse by the reins. Standing wide-legged and erect, he takes off his sombrero and places it upside-down on the ground. Next, he begins to shout, “Citizens, those of you who have any sense will do the same as me without any discussion about it!” Close shot: He takes out a half silver dollar and holds it over the hat, as he continues, “. . . Come out and pay your share in this hat!” He lets his coin, as an example, fall, and he demands, “So! And hurry up, I don’t have much patience.” The speaker comes out of a door, and with a sense of self-importance he promptly advances towards Tuco and babbles, “What’s all this about? For whom is the money? For our country?” Tuco replies bluntly, “For me!” The speaker retorts, “Get out of here, you and your filthy hat.” The speaker bends over to pick up the hat, but Tuco pushes him flat onto the ground. Even more quickly, Tuco grabs the speaker by the ankles, raises him upside-down above the hat and shakes him. A few coins fall out of the vest of the speaker, while Tuco comments, “You articulate well, speaker. But to lead a war it takes more . . . get out of here! Vanish before I change my mind.” He releases his grip, and the speaker falls and rolls over on the ground.
Tuco heads towards the saloon. From the perspective of the barman: Tuco is approaching, and in the background the speaker can be seen brushing dust from his clothes, before disappearing into a house. At the same time, several doors open and intimidated locals peep outside. As Tuco pushes the saloon doors open, the barman, who has turned pallid, slips out and immediately shows him a coin, stuttering, “I was just about to . . .” Tuco takes the coin out of his hand and sticks it in his shirt. He pokes a finger on the barman’s chest and says, “Bravo, now give me a drink.” A procession of women and elderly are seen in the square depositing their contribution in the hat.
Bedroom in the Socorro Hotel –
Blondie (seen from the side) is beside the window. He makes a gesture with his hand, indicating that the woman should go, and he demands, “Get dressed!” The woman opens the door and quietly walks out on tiptoe.
Saloon –
With the back of his hand Tuco brushes the glass away which the barman had placed in front of him, and he grabs the bottle by the neck. While he gulps, he closes his eyes blissfully, and the sound of alcohol whirling into his stomach can almost be heard. When he opens his eyes, he begins to assess quickly the situation . . . From Tuco’s perspective: On the other side of the saloon doors a procession of people can be seen putting their contribution into the hat. Tuco is now satisfied and looks at the barman, saying, “Amigo, have you seen a blond son of a bitch around these parts, he’s this tall [this sequence in seen in the French trailer for the film] . . . rides a brown horse, says little, el cavron . . . ?” The barman interjects, “Here, the people don’t speak much. Yeh, I think I can remember a guy like that.” Tuco briskly reaches out, seizes the barman by the chest and almost pulls him over the bar. He demands, “Speak! When did you see him?” The barman, shocked, replies, “A . . . .aah, no, six days ago. He was looking for someone . . .” Tuco snaps back, “Someone with a price on their head?” The barman replies, “Yeh, then . . . then he disappeared. He seems to be a bounty hunter.” Tuco abruptly releases the barman, uttering, “Judas. The pig . . .” and angrily he seizes the bottle and takes another gulp.
The barman sees something that stuns him . . . Out of the perspective of the barman: The camera zooms on to the woman who was above with Blondie, but she is now in the town square and leaning over Tuco’s hat. The barman quickly offers Tuco a bottle and, to catch his attention, adds, “That, señor, is the best bottle of bourbon within 100 miles . . .” Tuco throws his empty bottle away, reaches out for the bottle offered by the barman and sticks it in his shirt. He says, “Bueno!” He turns around and heads towards the door. The barman glances surreptitiously in the direction beyond the saloon doors. From the perspective of the barman: the town square is empty and the woman has vanished. The barman leans against the bar, as if he is on the brink of syncope.
Town square –
Close-up of the hat, then [full shot]. Tuco is seen approaching the hat and bending over to inspect the fruits of his collection. Close-up of the hat: inside the hat there is a cigar butt instead of the money. Tuco slowly takes the butt, sticks it in his mouth and puffs until it glows and smoke appears. He sets the sombrero on his head and heads back to the saloon. Saloon interior. The barman goes behind the bar and tries to reach a backdoor but the voice of Tuco catches up with him: “Come out of there!” Full shot: Tuco appears at the swing doors with a revolver in his hand. The barman emerges from behind the bar, as Tuco mournfully says, “Amigo, your still telling tales at your age . . . take off your trousers.” Tuco takes the cigar out of his mouth and moves towards the barman. The camera travels backwards until Tuco and the barman are no longer in the frame but, instead, the saloon doors. A short scratching and then the sound of a stool falling are heard. Tuco exclaims, “I said, down with your trousers!” The barman screams. It is not difficult to imagine what has just happened. Fade out.
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Here all the new stills together of the "bread/knife" scene:
http://imgur.com/a/qNCG9
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Nice job, Jordan.
It's so great to still be able to see new/unseen material 50 years later.
Strange how a still of the skeleton shot still hasn't surfaced yet we know that footage exists.
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I am curious, how much money do photos like these go for?
Selling these in lots is not very wise in terms of money making. But good for collectors (with money attached to them).
I'd love to know for how much those lots sold. May 500 - 1200 each? But if you sell them individually you
can get at least 20 - 100 for single stills of that quality (image, not condition.).
Last year 100 contact sheets of WILD BUNCH popped up, I was second bidder, something around 2000.-.
20.- for first WILD BUNCH contact sheet isn't much at all, if I was rich I bid much higher...
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Selling these in lots is not very wise in terms of money making. But good for collectors (with money attached to them).
I'd love to know for how much those lots sold. May 500 - 1200 each? But if you sell them individually you
can get at least 20 - 100 for single stills of that quality (image, not condition.).
Last year 100 contact sheets of WILD BUNCH popped up, I was second bidder, something around 2000.-.
20.- for first WILD BUNCH contact sheet isn't much at all, if I was rich I bid much higher...
The GBU stills (177) sold for US$ 2629 and the FOD stills (180) for about US$ 1500. About 50 of the 177 GBU stills appeared to be in very good condition (no surface damage), implying about US$50 (2629/50) per still - a good price. It was a shame that so many stills were badly damaged. I think it would have been better to sell the stills separately, as you pointed out.
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Thanks for the info!
Sure, but when elderly people (or their families) sell collections, they want to get rid
of it and not spend days & weeks ...
These were unique items. I'm sure some of those stills never existed in any form -
just these reference stills for publicity / promo selection...
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Here all the new stills together of the "bread/knife" scene:
http://imgur.com/a/qNCG9
This scene was to immediately follow the departure from Betterville?
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Here are all the (mostly) new shots from the soccoro scene, (description provided by Clinton).
http://imgur.com/a/qro83
Is that Ricardo Palacios (the Tucumcari saloon keeper in FAFDM) in the second still? And what do we know about the actress playing Clint's date?
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Is that Ricardo Palacios (the Tucumcari saloon keeper in FAFDM) in the second still? And what do we know about the actress playing Clint's date?
Yep, well spotted, Ricardo Palacios played the barman in the Socorro scene (and a train driver in OUATITW), and the Mexican woman with Blondie in the Socorro bedroom scene was played by Silvana Bacci. There are interviews with both in the book.
At one point, Blondie sends Bacci out to steal money from Tuco's sombrero, and she leaves a cigar butt (Blondie's signature) behind - that is the start of the Toscano trail sequence.
Hopefully, we will get to see the Socorro sequence some day. There are more than twenty stills from the scene in the book.
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Nice job, Jordan.
It's so great to still be able to see new/unseen material 50 years later.
Strange how a still of the skeleton shot still hasn't surfaced yet we know that footage exists.
I don't follow?
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Hi
I just saw the pictures of the scene of bread and the knife and I inform you that this scene was shot near the small town of Contreras (Burgos, Spain) about 6 km. Sad Hill Cemetery. I attached a close up not exactly the film location but can be background mountain. Contreras people remember shooting that scene and the exact place in the area known as Alto de San Juan.
(http://i.imgur.com/EaDc8TH.jpg)
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Thanks! O0
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Thanks for the info, clinton and mike.
It sounds crazy to me that the lots sold for so little money. If it had been sold one at a time and I'd known about it, I certainly could see myself bidding more than $50 each to get 2-3 pictures
Are these pics originals printed from the original negatives in 1966? Anyone know approx. how many copies of each pic were printed?
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@ D Montero
Thanks for that info!
Btw, can you resize that picture and then repost it in a smaller size? It is stretching out the page. Thank you :)
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I don't follow?
Brutto's 35mm italian print has a few differences compared to all other versions of the film, including part of a deleted scene in the desert. Look for some exciting updates soon as we progress through the restoration and scanning project...
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Thanks for the info, clinton and mike.
It sounds crazy to me that the lots sold for so little money. If it had been sold one at a time and I'd known about it, I certainly could see myself bidding more than $50 each to get 2-3 pictures
Are these pics originals printed from the original negatives in 1966? Approx. anyone know approx. how many copies of each pic were printed?
The prints were probably printed from original negatives. It's a great pity that so many were badly damaged. In relation to the GBU lot, quite a few of the stills are cropped images from medium-format negatives (usually 6 x 6 cm). It is hard to know who actually took which photos, except for the large collection of 35 mm black & white negatives from Angelo Novi, archived at Cineteca di Bologna. In behind-the-scenes stills, you can often see someone with a small (35 mm) or medium-format (6 x 6 cm) camera, and, in at least one medium-format still, you can see someone with a medium-format Rolleiflex camera hanging from his neck. So, there were probably quite a few different people making stills during the shooting. Apparently, Angelo Novi arrived a little late on the set (according to Giancarlo Santi, assistant director). It is not clear (going from memory) whether he took any stills at Elios Studios, Rome, before the film crew headed for Spain. There also doesn't seem to be many color stills around, which is a shame. It is hard to say how many prints were made. Original prints are often stamped FOTO VASELLI ROMA (common), ANGELO NOVI FOTOGRAFIA (uncommon) or something similar on the back, and the quality is usually very good.
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Brutto's 35mm italian print has a few differences compared to all other versions of the film, including part of a deleted scene in the desert. Look for some exciting updates soon as we progress through the restoration and scanning project...
Wow, this is getting more exciting all the time. Can't wait to hear more.
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Thanks for the info, clinton and mike.
It sounds crazy to me that the lots sold for so little money. If it had been sold one at a time and I'd known about it, I certainly could see myself bidding more than $50 each to get 2-3 pictures
Are these pics originals printed from the original negatives in 1966? Anyone know approx. how many copies of each pic were printed?
what makes them so interesting to die-hard collectors is the fact that these are from a (probably) unique "selection" set. With handwritten numbers in the corners. A set of approx. 800 or 1000 stills and the publicist then chose the best images for the promo material (press stills sets, blue-prints for lobby cards and poster design etc.). Some of them are well-known for that reason while others never made it into press kits or additional 8x10 stills selections. In those days they took 5000 - 20.000 stills on movie sets, but 'only' 100 to 1000 were then printed as 8x10 stills in any form, so it is just great to see unused images.
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These 3 from that collection are interesting. Probably for reference use in promotional material such as this Poster art by Michelangelo Papuzza which was also on heritage auctions.
(http://8.t.imgbox.com/pw1gLdev.jpg) (http://imgbox.com/pw1gLdev) (http://1.t.imgbox.com/eeoKIoHp.jpg) (http://imgbox.com/eeoKIoHp)
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Peter Hanley sent out an email today:
Dear All,
At last, the GBU book has been printed (via a 6-color, sheet-fed Heidelberg Speedmaster offset lithographic press on high-quality 135 g/m2 paper). The print quality is very impressive. The book has been at the bookbinder (Terbeck GmbH) for a couple of weeks and should soon be ready. As soon as the books become available, a shipment will be sent to an Amazon logistics center for distribution.
Best wishes,
Peter
Great news! O0
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Yep, that was today's surprise good news in my mailbox. 🍾
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same here O0
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And here, great news O0
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I'm pumped for the book!
Also, those super rare gbu photos are listed on eBay, only wants $16,000...I'll stick with the jpgs from the auction unless I win the lottery I suppose.
https://www.ebay.ca/ulk/itm/351701009020
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$16,000...is that all. Pocket money ;)
I think this seller had that rare FAFDM still a while back.
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Only $40 shipping though! What a deal.
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Huh, amazon.de claim to only have a single copy: http://www.amazon.de/Behind---scenes-Sergio-Leones-Good/dp/3000404767/ref=sr_1_1?s=books&ie=UTF8&qid=1462819787&sr=1-1&keywords=peter+hanley
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No, that is just their strange logistics. I sell through them for six years now, sometimes it logic is not involved... (I ordered it too, should arrive wednesday!)
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The book is SENSATIONAL! JUST GREAT. 1A quality, awesome images, a dream.
At first I thought about taking some pictures and posting them here,
but that is nonsense. If you're a Leone fan and care for film books in any way,
you have to get it. Plain and simple. Support Peter here as well of course,
I must say at first I was afraid it would cost more than 80, 100 or even more,
so the modest price is certainly no reason not to buy it. (go eat less expensive junk food :)).
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The book is SENSATIONAL! JUST GREAT. 1A quality, awesome images, a dream.
At first I thought about taking some pictures and posting them here,
but that is nonsense. If you're a Leone fan and care for film books in any way,
you have to get it. Plain and simple. Support Peter here as well of course,
I must say at first I was afraid it would cost more than 80, 100 or even more,
so the modest price is certainly no reason not to buy it. (go eat less expensive junk food :)).
Just ordered my copy. It's available on Amazon Germany only. I checked on Amazon Italy and UK...For those of you interested, I paid € 64,95 for the book, plus € 8,38 for shipment so € 73.33, which in US$ at today's rate of exchange is US$ 83,35. Can't wait.... ;)
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Yeah, it's not as expensive as I'd hoped, but Peter has made a fair enough attempt and I have to admit I'm going to have to wait for payday to get this, so I'm in.
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Ordered! I'm thrilled to see this book finally released, only been waiting with baited breath for 10 years or so :)
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Me too! This is so exciting!!
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And now we hear from the great man himself:
Dear All,
The GBU-book is now available at "Amazon.de" and is shipped/distributed worldwide. We will endeavor to list the book at other Amazon marketplaces, such as Amazon.com, Amazon.co.uk, Amazon.es etc, but, in all cases, the book will be shipped from an Amazon distribution center in Leipzig, Germany.
Please do not hesitate to write directly to me if you have problems navigating the Amazon.de site, e.g. you could send me screenshots etc.
The link is: http://www.amazon.de/Behind---scenes-Sergio-Leones-Good/dp/3000404767/
Best wishes,
Peter
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But at the moment it is not directly Amazon.de which sells the book, instead only over Amazon Marketplace, and the name of the seller indicates that it is Hanley himself from whom you get it (but shipped by Amazon)
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But at the moment
Do you have some kind of info to suggest the situation will change?
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But at the moment it is not directly Amazon.de which sells the book, instead only over Amazon Marketplace, and the name of the seller indicates that it is Hanley himself from whom you get it (but shipped by Amazon)
The book was printed and bound in Germany, and so it made sense to send the books to Amazon in Germany (Amazon.de). When you send books to an Amazon logistics center (distribution center), "they" (Amazon) decide where they will be sent to (Bad Hersfeld, Pforzheim, Brieselang, Werne, Weinberg, Rheineberg, Leipzig etc), and it turned out to be Leipzig. The delivery was a little complicated since everything is done online. You just can't ring them up and organize things like in the old days. The book is listed at Amazon.de and available for worldwide delivery. It should, in principle, be straightforward to link the German Amazon market (Amazon.de) to the other Amazon markets (.com, .co.uk, .es, .fr etc), which are independent of each other, but I have had much difficulty trying to do this. It would be more comfortable, in the USA for example, to search for the book with Amazon.com and order it (although it is shipped from Germany). Also, people are more likely to find English-language books when they are listed at English-based sites, such as Amazon.com and Amazon.co.uk.
I (Peter Hanley) am the seller, but the book is stored at Amazon, and Amazon also does the electronic paperwork, packing/shipping etc. I have tried to "register" the ASIN (Amazon standard identification number) corresponding to the book at other sites (Amazon.com etc) so that the book can be listed at these other sites, but I have ended up going in circles. At least, Amazon.de seems to be functioning as a distribution center for now, but things could certainly be better.
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Amazon.
Even as an "Advantage Seller" I have my problems with them, I feel with you...
Anyway guys, just buy the thing :). You can manage.
This book is a dream come true, even beyond that... Need to catch a train tomorrow,
but I can't stop reading :).
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I guess that if there is no way to get it other than by going to the German site, I'll do that. But if it will be available sometime soon on Amazon.com, I'll just wait for that. What do you say Peter?
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Or is there any way we can buy it from you directly (e.g by sending you a Paypal payment) and not have to deal with the German site? If yes, can you tell us your Paypal email address and how many dollars to pay? Thanks O0
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You can use the amazon.de site in english language (there's a option you click on the home page):
http://www.amazon.de/gp/switch-language/homepage.html/ref=cs_switchlang/277-8732175-9162913?ie=UTF8&language=en_GB
Here's the link to his book with the english option checked:
http://www.amazon.de/Behind---scenes-Sergio-Leones-Good/dp/3000404767/ref=sr_1_1?ie=UTF8&qid=1462934824&sr=8-1&keywords=peter+hanley
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You can use the amazon.de site in english language (there's a option you click on the home page):
http://www.amazon.de/gp/switch-language/homepage.html/ref=cs_switchlang/277-8732175-9162913?ie=UTF8&language=en_GB
Here's the link to his book with the english option checked:
http://www.amazon.de/Behind---scenes-Sergio-Leones-Good/dp/3000404767/ref=sr_1_1?ie=UTF8&qid=1462934824&sr=8-1&keywords=peter+hanley
Bravo Jordan! Thanks, that's a great help!
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Thanks for that, Jordan Krug. O0
I placed the order.
The book was 64,95 euros (they use commas, whereas we'd use periods, to denote "cents" or "fractions of a euro.") "Delivery and handling" charge is 10,80 euros.
I'm not saying that 10,80 euros is an unfair shipping price from Leipzeig to New York, but on the book's page where the price is listed it very clearly says Free Delivery. By the time the book was in my shopping cart and I was checking out, it had a 10,80 "delivery and handling" fee. If the "Free Delivery" was only meant within Germany or within EU or whatever, it should say upfront "Free Delivery in Germany" or "Free Delivery in EU."
Total was 75,75 euros; at the current exchange rate, my Visa card was charged $89.57. Book is supposed to arrive on May 31st.
This is, by far and away, the most I've ever paid for a book. (Not that I have many coffee-table books!)
Looking forward to receiving it!
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Thanks for that, Jordan Krug. O0
I placed the order.
The book was 64,95 euros (they use commas, whereas we'd use periods, to denote "cents" or "fractions of a euro.") "Delivery and handling" charge is 10,80 euros.
I'm not saying that 10,80 euros is an unfair shipping price from Leipzeig to New York, but on the book's page where the price is listed it very clearly says Free Delivery. By the time the book was in my shoppong cart and I was checking out, it had a 10,80 "delivery and handling" fee. If the "Free Delivery" was only meant within Germany or within EU or whatever, it should say upfront "Free Delivery in Germany" or "Free Delivery in EU."
Yes, no shipping costs for books in Germany, but outside Germany it is different.
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And it is still quite cheap. The (lovely) thing weights 5 pounds.
DHL would charge about $42.00!
In any case, it is THE coffee table book a serious Leone fan needs :).
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In any case, it is THE coffee table book a serious Leone fan needs :).
But do serious Leone fans even HAVE coffee tables? This one doesn't.
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I don't know. I drink only tea & Tequila Sunrise. Corona's too....
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I guess that if there is no way to get it other than by going to the German site, I'll do that. But if it will be available sometime soon on Amazon.com, I'll just wait for that. What do you say Peter?
I was going to point out that amazon sites are basically the same the world over so with a bit of google translate you can easily navigate through one in another language. However, I just noticed that amazon.de now has a beta English version as one of the options on the homepage - it seems to work really well.
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But do serious Leone fans even HAVE coffee tables? This one doesn't.
"What does the presence or lack of a coffee table have to do with appreciating Sergio Leone?" ponders Noodles...
(https://66.media.tumblr.com/1e49bb51d691652219d3cf5380584c28/tumblr_nw2yo2tPdn1rfd7lko1_400.gif)
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"What does the presence or lack of a coffee table have to do with appreciating Sergio Leone?" ponders Noodles...
(https://66.media.tumblr.com/1e49bb51d691652219d3cf5380584c28/tumblr_nw2yo2tPdn1rfd7lko1_400.gif)
Please note Noodles has nowhere to set his cup. Thus, the stir that never ends.
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mike, you sound like you're making a percentage on this thing ;)
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I don't even know Peter really.
But those kind of projects need to be supported. I meet film nerds all the
time complaining about "mainstream" and the lack of great products
dealing with non-Hollywood classics. But then they shy away from buying
such products because they need the money the see AVENGERS VIII and
afterwards go to McDonalds to buy worthless food :).
One can't expect others to produce something worthwhile like this (it is a labour of love
he probably won't make money anyway. With years of work attached to this he'd probably have to sell
5000 copies - wishful thinking) if not even the real LEONE FANS buy it.
I'm preparing a similar book like this for years, but it is such a pain regarding
involved actors and the probability of not making money anyway lowered my
enthusiasm considerably.
Great work Peter!
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I made the purchase, mike. Don't worry, your percentage is safe ;)
Indeed, I am happy people like Peter do these labors of love O0
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You go and buy my McQueen book, THEN I get my percentage :).
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Sorry for the minor point on such a big and impressive project but I notice a still of Clint (on the amazon listing, taken from the book) taken during the scene when he shoots Tuco down at the end of the film. The still is not featured in the film but a drawing of the still was used on the front of one of Joe Millard's books. Interesting cause I feel that I have never actually seen the photograph before but it must've been circulated in order for the artist to have painted it.
Am I talking bollox?
Rat
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You mean Clint on horseback?
Nice still. But you will find dozens of stills you've never seen before. In those years they
took between 5000 & 20.000 stills for a film! I have about 250 photos
of the film and maybe 30-50 of those are in the book, all the others in the book I never saw before :).
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You mean Clint on horseback?
Nice still. But you will find dozens of stills you've never seen before. In those years they
took between 5000 & 20.000 stills for a film! I have about 250 photos
of the film and maybe 30-50 of those are in the book, all the others in the book I never saw before :).
Yes, that is the photo that I mean and it was used on The Devil's Dollar Sign. I used to have all of those books.
Cheers
Rat
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The book arrived this morning - 5 minutes before I had to leave for work. So I only had a brief time to glance through it. Look forward to devouring it when I get home :)
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In the 5 minutes I had, all I could do was open the box, take out the book, and flip through it for a second.
First of all, as mike said, I have to reiterate thanks to Peter for taking the time and effort to make what I am sure will be a great book to read and own for years to come.
From the few minutes I saw ....
Firstly, the Amazon Deutschen warehouse needs to learn a thing or two about proper shipping of expensive books.
Amazon shipped it via DHL. The book was packaged in a flimsy box, no bubble wrap, just a little cardboard around it inside. No bubble wrap. Box was pretty smashed up, and the book itself has a little damage mark in back corner. Not a huge deal, but Amazon warehouse should take more care when shipping coffe-table books across an ocean. Peter, if there is any way you can get Amazon to wrap the book properly, I'm sure your American fans would appreciate it ;)
The book itself has a broken-in feel, so you do not have the problem of being able to keep it open to a certain page - it can stay open easily at any page. That is a very nice feature for a new book O0
I'd take pics and post here, but as I have mentioned, Photobucket is a pain to use; posting pics here is annoying. If anyone wants pics, PM me and I can email it.
I flipped through a few pages - not only pics from the set, but also some historical pics, comparing some images/props in the film to their real-life Civil War counterparts. Again, I am sure it'll be great to read when I get home.
Thanks again, Peter ;)
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Amazon IN GENERAL ships like they get paid for destroying products. Has Nothing to do with Amazon Germany :).
I order 3x a year from Amazon US, about 10-20% of the books are (sometimes badly) damaged, even DVD boxes broken! They don't care, they replace without making much trouble. Strange company. SUPPORT YOUR LOCAL BOOKDEALER, the only reason I did order the GBU book through Amazon was because I had some other products already in my basket...
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Amazon IN GENERAL ships like they get paid for destroying products. Has Nothing to do with Amazon Germany :).
I order 3x a year from Amazon US, about 10-20% of the books are (sometimes badly) damaged, even DVD boxes broken! They don't care, they replace without making much trouble. Strange company. SUPPORT YOUR LOCAL BOOKDEALER, the only reason I did order the GBU book through Amazon was because I had some other products already in my basket...
I have never had this problem before - though truth is, I rarely order books from Amazon. But I order dvd's often and did not have this problem.
On closer inspection, that damaged corner has a water stain - it looks like water seeped in through a hole in the box and stained the corner.
I have never returned something for being damaged, but thanks for letting me know. I will try to have it exchanged :)
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ok I went onto Amazon, informed them of the return and printed return shipping label. will send it back and then they'll refund my credit card. They won't do an exchange; i have to send this back for a refund, and also order the book again. So, that's what I did - I even saved a few cents: since the price is in euros and i am paying in dollars, and the dollar has risen vs. the euro over the past few days, my new order total cost me $89.05, a few cents less than the previous order ;)
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My copy came today from Germany Amazon. The box was very damaged. It looked like someone opened it and clear taped it back together. Fortunately, Mr. Hanley took great care in wrapping in paper and shrink wrapping the book itself. Its the only thing that saved it. Terrible delivery. My copy is fine but the box. Savages working for whoever was responsible. >:(
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My copy came today from Germany Amazon. The box was very damaged. It looked like someone opened it and clear taped it back together. Fortunately, Mr. Hanley took great care in wrapping in paper and shrink wrapping the book itself. Its the only thing that saved it. Terrible delivery. My copy is fine but the box. Savages working for whoever was responsible. >:(
is it possible that a customs official opened it?
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spent a little time this evening looking through the book.
First thing I can say is, Mr. Hanley (or is it Dr. Hanley?) is incredibly thorough. First few pages discuss the historical facts about the Civil War events referenced in the movie. I am sure that CJ, author of the "timeline" thread here, will enjoy that.
After reading a few pages of that, I started skimming through some of the interviews and pics in the book. Have to go to sleep now. It'll take me forever to get through the whole thing, and I am just fine with that ;)
So from the little I saw: Peter is very very very thorough. Like, obsessively thorough. There are a number of pics that are closeup screenshots of an image on the BRD to catch something like a bit of text on a map. Sometimes on a pic of a cannon, Peter will mention that a closeup reveals the serial number (!) on the gun. Some of the pics have very long captions, stating the name of many of the people in the pic, or of as many people as Peter could find out names of, even if it's just an extra.
There are tons of interviews, not just with major players, but with people who did brief bits. Camera assistants, extras, whoever Peter could get his hands on. For example, he interviews the whore who went to bed with Blondie in the Soccoro sequence - she worked for two days, her part never even made it into the movie; Peter asks her question after question; she often says she can't recall this or that detail Peter is seeking, but he tries to find out every bit he could. Peter's goal seems to be to document every tiny bit of information there is on GBU from anyone and everyone who can possibly share anything at all. Bravo ;)
Also, Peter shares lots of pics that seem to have been taken one after the other; some pics are very similar to the pic on the preceding page. Peter doesn't just "choose the best one" and that's all; he shows both. Not the sort of thing anyone but a crazy fan would do ;)
So, this book was made by an insanely serious fan who wants to document and share every bit of knowledge he has on this great film. Clearly a labor of love.
O0 O0 O0 O0 O0 O0 O0 O0 O0 O0 O0 O0 O0 O0
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Peter,
Now that the GBU book is all done, I hope you'll immediately move onto the FAFDM book you promised us
http://www.fistful-of-leone.com/forums/index.php?topic=12092.0
;)
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spent a little time this evening looking through the book.
First thing I can say is, Mr. Hanley (or is it Dr. Hanley?) is incredibly thorough. First few pages discuss the historical facts about the Civil War events referenced in the movie. I am sure that CJ, author of the "timeline" thread here, will enjoy that.
After reading a few pages of that, I started skimming through some of the interviews and pics in the book. Have to go to sleep now. It'll take me forever to get through the whole thing, and I am just fine with that ;)
So from the little I saw: Peter is very very very thorough. Like, obsessively thorough. There are a number of pics that are closeup screenshots of an image on the BRD to catch something like a bit of text on a map. Sometimes on a pic of a cannon, Peter will mention that a closeup reveals the serial number (!) on the gun. Some of the pics have very long captions, stating the name of many of the people in the pic, or of as many people as Peter could find out names of, even if it's just an extra.
There are tons of interviews, not just with major players, but with people who did brief bits. Camera assistants, extras, whoever Peter could get his hands on. For example, he interviews the whore who went to bed with Blondie in the Soccoro sequence - she worked for two days, her part never even made it into the movie; Peter asks her question after question; she often says she can't recall this or that detail Peter is seeking, but he tries to find out every bit he could. Peter's goal seems to be to document every tiny bit of information there is on GBU from anyone and everyone who can possibly share anything at all. Bravo ;)
Also, Peter shares lots of pics that seem to have been taken one after that other; some pics are very similar to the pic on the preceding page. Peter doesn't just "choose the best one" and that's all; he shows both. Not the sort of thing anyone but a crazy fan would do ;)
So, this book was made by an insanely serious fan who wants to document and share every bit of knowledge he has on this great film. Clearly a labor of love.
O0 O0 O0 O0 O0 O0 O0 O0 O0 O0 O0 O0 O0 O0
Sounds great.
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So, this book was made by an insanely serious fan who wants to document and share every bit of knowledge he has on this great film. Clearly a labor of love.
I never doubted it. God bless Peter J. Hanley.
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Hi all, I just received the book here in The Netherlands and it was well packaged in a sturdy box. So it arrived in mint condition.
So far I have only been able to glance through it and it is absolutely stunning! So many pictures and stills I had never seen before and so much information to digest. This marvelous is sure to bring every GBU fan many hours of reading joy!
Thanks Peter for this gem!
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Has a strong smell, doesn't it?
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Firstly, the Amazon Deutschen warehouse needs to learn a thing or two about proper shipping of expensive books.
Amazon shipped it via DHL. The book was packaged in a flimsy box, no bubble wrap, just a little cardboard around it inside. No bubble wrap. Box was pretty smashed up, and the book itself has a little damage mark in back corner.
Complain about the damage, take a photo if needed. Likely Amazon will just ship a new book, and not even ask for the original to be returned. Then you could sell the damaged book to me !!!
Years ago I ordered a 27 x 41 reprint one-sheet poster from Once Upon a Time in the West for about $25, and the tube was dented when it arrived, and the poster was slightly torn because of that. I was simply sent a brand new replacement, not worth the time to them to process returns on small stuff.
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Amazon.de says once they receive my return package they will refund up to 8.6 euros in shipping costs. But shipping a book this heavy from USA would cost me like fifty dollars! I contacted Amazon, will see what happens.
In the meantime, I ordered another one, which is on the way ;)
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The book has lotsa pics of Eastwood hitting golf balls on the set of GBU ;D
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I got mine on Monday and can only reiterate what others have said. It is a fantastic book. Lots of rare stills, detailed information and good quality printing.
The packaging could have been better. It was shrink wrapped but it was loose in the card packaging so could have done with some paper or card to stop any movement.
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I got mine today after a three days delay on the expected delivery date (for reasons unknown to me, from Germany it was first sent to Belgium and then to Italy), but otherwise no problem with the package and the book arrived in excellent condition. The courier for Italy was SDA.
As for the book, simply worth every Euro!! D&D rightly says that it is a labor of love. A lot of photos I've never seen before, each person on the photo clearly identified, lots of details. Just as an example, there is a photo of Sergio on the GBU set holding a book in his left hand. I don't know how Peter managed, but he not only identified the book, he also printed a photo of the cover of the book! (turned out to be "Gardner's Photographic Sketch Book of the Civil War"). There is even a copy of the contract signed by Silvana Bacci (the lady in the lost Socorro scene)!! Absolutely amazing.
For those of you who have not order it yet: go for it! You won't regret it. If you don't have the money at the moment, steal it, borrow it, sell your mother in law....but buy it!!! :) :)
Thanks Peter: superb job!
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If you don't have the money at the moment, steal it, borrow it, sell your mother in law....but buy it!!! :) :)
That just about covers my options right now ;D Life's expenses right now have been squeezing me dry! I am so grateful to Peter for writing this book - I just wish people would stop creating all these new things that I can't resist buying ;D Criterion's "McCabe..." BD will be another thing I just can't resist.
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That just about covers my options right now ;D Life's expenses right now have been squeezing me dry! I am so grateful to Peter for writing this book - I just wish people would stop creating all these new things that I can't resist buying ;D Criterion's "McCabe..." BD will be another thing I just can't resist.
Ditto for me I have a major expense to get out of the way before I can order it.
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My new book came today. This one was packaged in a larger box. Still no bubble wrap, just some tissue paper in the box. But this time, the book itself was shrink-wrapped ... And it arrived in pristine condition :)
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In da house!
This is the second-greatest day of my life (the greatest was when my sister-in-law told me she'd never speak to me again).
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A taster:
Back to Luciano Vincenzoni. What research did he perform?
I read a book about Sergio Leone by an English person.
Christopher Frayling?
Yes. It stated that Luciano Vincenzoni did the historical research. It wasn't true. Luciano Vincenzoni ordered most of the books from the Library of Congress, but I was the one who carefully researched the material book by book. I photographed parts of the books and distributed the photos to Simi, Santi, and the others.
p. 162
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A taster:p. 162
are you going to tell us who this interview was with, or are you going to keep us guessing until we read it ourselves?
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Gianni - AD
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are you going to tell us who this interview was with, or are you going to keep us guessing until we read it ourselves?
I gave you the page number.
Moving right along:
Although the historical backdrop of The Good, the Bad, and the Ugly is clearly Sibley's New Mexico campaign, there are only scant references to any specific historical locations following the Betterville prison camp sequence. After being tortured, Tuco is taken to a railroad station. However, the railroad did not reach New Mexico until around eighteen years after Sibley's campaign, suggesting that the historical setting of the film shifts to the East, where the railroad was expansive. Furthermore, Gattling guns, seen in the Battle at Langstone Bridge, were almost exclusively employed by General Benjamin F. Butler, in the siege against Petersburg, Virginia, during the closing phases of the Civil War.
So far, so good. It seems he's opening the door for CJ's timeline. But then comes:
All things considered, a remarkable amount of historical research was done to ensure that "the Good," "the Bad," and "the Ugly" seek their fortunes in a plausible historical context, albeit with "Roman" embellishments.
Yikes, CJ, move your fingers before you lose them!
Just when it seems Hanley might be signaling acceptance of CJ's theory, it all gets transformed into "'Roman' embellishments." Oh well, it's a great book nonetheless.
The quotes are from p. 32.
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It's interesting that he mentions the Gatling guns in relation to Virginia.
On Frayling's BRD commentary - while I do not recall if he mentions in any way the connection between the Gatling guns and Virginia - at the moment that Blondie and Tuco are captired by the Union guards near Langstone Bridge, Frayling happens to discuss how someone (I think Carlo Simi?) said that parts of Spain look like Arizona and New Mexico (desert scenes) while other parts (where Langstone Bridge was filmed) look like Virginia. Again, I don't recall if he says anything about the Gatling-Virginia connection. But is that coincidental?
However, Frayling seems to believe that the Langstone Bridge battle is still supposed to be in the West - a Leone fairy tale West. BecauseFrayling says that while there were some little battles in Texas over ownership of gold, the real pitched battles would have been in the East, so he is saying that Langstone Bridge battle being in the West is an example of Leone deviating from history.
Two points on that:
A) is it possible that, per Peter's comments on the Gatlings, the action has indeed moved to the East? Personally, I highly doubt it. If Bill Carson simply said "Sad Hill Cemetery" and did not mention that it's in the East, and if we do not see Blondie/Tuco specifically traveling east, we have to assume that they are still in the same region of Texas/New Mexico as they have been all movie long. So, even if historically inaccurate, we have to assume this movie battle is in the West.
B) But is it really true, as Frayling says, that there were no pitched battles in the West, just some small conflict over gold-mone ownership? From a brief reading of Peter's timeline - though I must admit I am no historian and could not digest all that thoroughly - it seems to me that there were indeed (a few) serious battles in the West...
(p.s. Frayljng's statement about the pitched battles historically all being in the East, and the West having only the conflict over the gold-mine ownership, seems to have come from a story Leone liked to tell about his historical research: in STDWD, Frayling cites Leone saying how when he went to the Library of Congress to research a Civil War battle in Texas, the librarian told him there were no battles in Texas, but Leone insisted that they were, and after doing research, the librarian admitted that Leone was correct that there was a battle over a gold mine in Texas. Leone used the story to show that he did serious research; that most other people, including librarians in the Library of Congress - don't do their own research, but he did thorough research. )
Finally, in regard to those battles over gold-mine ownership that took place in the West ... Is it also a coincidence that this movie is about a hunt for gold? Frayling citing Leone cites the battles over gold-mine ownership simply as proof that there were indeed some battles in the West, but I just thought of this – is it a coincidence that this movie, which shows battles in the West, happens to be about a hunt for gold?
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The West is anything West of the Mississippi, there were pitched battles in Missouri, Arkansas, Louisiana, and possibly East Texas.
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As long as there were even a few pitched battles in Texas or New Mexico, the Langstone Beidge battle scene would be historically ok.
To me, the bigger question is, were there such massive presence of troops all throughout the region; wherever Blondie and Tuco go, they seem to run into one army or the other.
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A) is it possible that, per Peter's comments on the Gatlings, the action has indeed moved to the East? Personally, I highly doubt it. If Bill Carson simply said "Sad Hill Cemetery" and did not mention that it's in the East, and if we do not see Blondie/Tuco specifically traveling east, we have to assume that they are still in the same region of Texas/New Mexico as they have been all movie long. So, even if historically inaccurate, we have to assume this movie battle is in the West.
Wow, have you read the thread on CJ's timeline or not? He makes an excellent case for the action moving to the East. Not only does he make the same point that Hanley does about the railroad, he states that the Union had no prisoner-of-war camps west of (IIRC)
Illinois. Further, he demonstrates that it was plausible to move along the Santa Fe Trail from New Mexico to the Midwest, even though the prisoners would have been on foot. Remember, when Al Mulloch returns at the 2-hr. mark to shoot Tuco he says something about having had to wait several months for his revenge. How to account for all this lost time? Well, if Blondie and Tuco had had to walk from New Mexico to Illinois it would have taken them months (I think CJ even calculates this). It then makes sense that, after leaving Betterville, Wallace takes Tuco to the train station. Clearly, we're in the East, or at least, the Midwest. Do the principals ever go back to New Mexico? CJ argues persuasively for Arkansas (please read his thread).
Although the battle at Langstone Bridge is heavily stylized (using weaponry that wouldn't have been available, etc.) I think the general flow of events in GBU follows plausible locations. That is, the micro-elements are fiction, the macro-elements, not so much. It is possible to look upon the second half of the film as set entirely in LeoneLand, of course, but there's no reason that the action can't occupy actual historical locations at the same time.
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The West is anything West of the Mississippi, there were pitched battles in Missouri, Arkansas, Louisiana, and possibly East Texas.
For our purposes it may be useful to refer to the East, the West, and the Far West when talking about Civil War locations. "The West" is a slightly anachronistic term in that it was once applied to what we now call the Midwest.
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I read CJ's thread a long time ago, but obviously don't remember it as much as you do ;)
How near is the Western town where Tuco shoots Mulloch in the bathtub, to Langstone Bridge/Sad Hill? Does not seem to me like they travel far
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There was a Civil War skirmish also in Arizona, near Piccachio.
Remember Tuco tells Blondie (in the restored scene) that the cemetery is far away? And that they'd have to cross battle lines several times? That and the months it takes for GBU to play through, and the topography DO indicate that the cemetery Sad Hill was farther east.
Didn't I read somewhere that the Burgos area was specifically chosen for the bridge and cemetery scenes because it looked more like eastern US?
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How near is the Western town where Tuco shoots Mulloch in the bathtub, to Langstone Bridge/Sad Hill? Does not seem to me like they travel far
CJ thought that town was Ft. Grant, Arkansas, I think. It's tough to tell the time interval after departing there and reaching the bridge, could be several days, could be a month.
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CJ thought that town was Ft. Grant, Arkansas, I think. It's tough to tell the time interval after departing there and reaching the bridge, could be several days, could be a month.
Ft. Smith, AK.
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You are both correct Ft. Smith was changed for some odd reason to Ft. Grant in Hang 'Em High, though the "Hanging Judge" Parker remained the same character.
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There was a Civil War skirmish also in Arizona, near Piccachio.
Remember Tuco tells Blondie (in the restored scene) that the cemetery is far away? And that they'd have to cross battle lines several times? That and the months it takes for GBU to play through, and the topography DO indicate that the cemetery Sad Hill was farther east.
Didn't I read somewhere that the Burgos area was specifically chosen for the bridge and cemetery scenes because it looked more like eastern US?
As I recall, Frayling does mention in the commentary that Burgos looks like Virginia, but only to make the point that there is a wide variety of Spanish landscapes. But Frayling also says that showing a pitched battle in the West is an example of Leone making a movie in never-neverland. So I don't think Frayling considers the possibility that Burgos was chosen for that battle because Leone indeed intended the battle to take place in the East.
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So I don't think Frayling considers the possibility that Burgos was chosen for that battle because Leone indeed intended the battle to take place in the East.
Yes, his imagination is rather limited, isn't it?
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Yes, his imagination is rather limited, isn't it?
That's an unfair comment.
CJ's theory of the movie moving East is quite far-fetched. It's pretty clever, and may be correct, but certainly far-fetched. This movie is a Western; it frequently mentions places in the West like Texas and New Mexico but never mentions places in the East; and it wouldn't be the first time that Leone made a movie in never-neverland - for example, while the railroad did not reach that far West during the Civil War, I believe it also did not reach Tucumcari at the time FAFDM was set. And I believe that the cartridges Blondie was cleaning weren't really around during the Civil War.
I think your remark about Frayling was unfair, though I'm not saying CJ's theory is wrong. I think his "Timeline" thread is a great read and may well be true, although it is quite a novel theory and we'll never know for sure.
Leone never had a problem combining extensive historical research with never-neverland ;D
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I just left a 5-star review of the book on the amazon.de website, and I suggest that all of you who buy it do the same.
Now Peter, when is the new FOD book coming out? ;)
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That's an unfair comment.
CJ's theory of the movie moving East is quite far-fetched. It's pretty clever, and may be correct, but certainly far-fetched. This movie is a Western; it frequently mentions places in the West like Texas and New Mexico but never mentions places in the East; and it wouldn't be the first time that Leone made a movie in never-neverland - for example, while the railroad did not reach that far West during the Civil War, I believe it also did not reach Tucumcari at the time FAFDM was set. And I believe that the cartridges Blondie was cleaning weren't really around during the Civil War.
I think your remark about Frayling was unfair, though I'm not saying CJ's theory is wrong. I think his "Timeline" thread is a great read and may well be true, although it is quite a novel theory and we'll never know for sure.
Leone never had a problem combining extensive historical research with never-neverland ;D
Western Arkansas, Western Missouri, are WEST of the Mississippi, but further East than New Mexico, Texas O0
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Western Arkansas, Western Missouri, are WEST of the Mississippi, but further East than New Mexico, Texas O0
Trying to explain these things to a kid from Brooklyn is like trying to give directions to off-world visitors. Give up.
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I'm going through the chapter where Hanley compares the film to what was in the original Italian script (he doesn't mention a translator. Did he translate it himself?) The most interesting thing so far: In the Betterville sequence, in the original, Angel Eyes didn't know Blondie and Tuco nor they him. They meet for the first time at the camp (thus, there are no earlier missing scenes). However, as AE explains to Tuco, he knows Tuco isn't Carson because AE came across Carson's dead body soon after Tuco and Blondie did. He noticed that the dead Carson was no longer wearing his uniform, so now he figures the uniform Tuco's got on must be Carson's. Maybe Tuco talked to Carson before he died and found out about the gold? Well, it's worth administering a beating to find out. Interestingly, in this version AE gives the beating, not Wallace (Wallace is outside with the musicians). The scene as it plays out seems potentially funny: Tuco keeps insisting for the longest time he's Carson, and every time he does he gets a blow . . .
I wonder why they changed the relationship between AE and Tuco/Blondie? It isn't necessary to the plot that they had known one another before. Hmmmm.
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Trying to explain these things to a kid from Brooklyn is like trying to give directions to off-world visitors. Give up.
I guess that only non-Brooklynites are aware that the topography of Arkansas and the topography of Virginia are the same.
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I'm going through the chapter where Hanley compares the film to what was in the original Italian script (he doesn't mention a translator. Did he translate it himself?) The most interesting thing so far: In the Betterville sequence, in the original, Angel Eyes didn't know Blondie and Tuco nor they him. They meet for the first time at the camp (thus, there are no earlier missing scenes). However, as AE explains to Tuco, he knows Tuco isn't Carson because AE came across Carson's dead body soon after Tuco and Blondie did. He noticed that the dead Carson was no longer wearing his uniform, so now he figures the uniform Tuco's got on must be Carson's. Maybe Tuco talked to Carson before he died and found out about the gold? Well, it's worth administering a beating to find out. Interestingly, in this version AE gives the beating, not Wallace (Wallace is outside with the musicians). The scene as it plays out seems potentially funny: Tuco keeps insisting for the longest time he's Carson, and every time he does he gets a blow . . .
I wonder why they changed the relationship between AE and Tuco/Blondie? It isn't necessary to the plot that they had known one another before. Hmmmm.
As it is now, I believe that our only clue that AE knows Blondie and Tuco is his comment about a "golden-haired angel" watching over Tuco. Sort of a clumsy connection IMO.
As I recall, Frayling says that the scene with the "half soldier" originally had some ither dialogue; it was post-dubbed to have the dialogue about the cash box because there had been another scene in the script where the cash-box dialogue had originally been, but that scene was removed; since the dialogue is important, they used it in the half-soldier scene, which initially had less-important dialogue.
Now, I wonder if perhaps a similar thing is true of the "golden-haired angel" dialogue. Was it added in later cuz Leone decided, hey, I need to show that AW knows Blondie and Tuco? IMO it seems sorta clumsy.
DJ, in that early draft, is the Fort scene in there? Is it necessary?
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As it is now, I believe that our only clue that AE knows Blondie and Tuco is his comment about a "golden-haired angel" watching over Tuco. Sort of a clumsy connection IMO.
As I recall, Frayling says that the scene with the "half soldier" originally had some ither dialogue; it was post-dubbed to have the dialogue about the cash box because there had been another scene in the script where the cash-box dialogue had originally been, but that scene was removed; since the dialogue is important, they used it in the half-soldier scene, which initially had less-important dialogue.
Now, I wonder if perhaps a similar thing is true of the "golden-haired angel" dialogue. Was it added in later cuz Leone decided, hey, I need to show that AW knows Blondie and Tuco? IMO it seems sorta clumsy.
DJ, in that early draft, is the Fort scene in there? Is it necessary?
It's there (according to Hanley. Hey, don't you have a copy of his book?). It's necessary in that AE gets a clue about where he should go next. Of course, you could dispense with the scene (we don't really need to understand the chain of info gathering AE goes through to get to where he's going) but I like the scene a lot (great 360 degree pan; the first time we hear the strains of the "sad" music for dead soldiers; and of course I can never get enough scenes with AE in them). The gunshop scene isn't necessary either, but I wouldn't want to dispense with it. GBU is one of the few pictures that can stand any number of "non-essential" scenes. I wish the film was twice as long.
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Hanley's book is excellent, but one thing sorely lacking is an outline of the film's production history. Even Frayling is rather vague about the chronology. I know location scouting was done in March of 1966. I know that the English dub was prepared in Oct/Nov. 1967. I know the shoot lasted 13 weeks. But which 13 weeks? Can anybody point me toward the info?
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I'm going through the chapter where Hanley compares the film to what was in the original Italian script (he doesn't mention a translator. Did he translate it himself?) The most interesting thing so far: In the Betterville sequence, in the original, Angel Eyes didn't know Blondie and Tuco nor they him. They meet for the first time at the camp (thus, there are no earlier missing scenes). However, as AE explains to Tuco, he knows Tuco isn't Carson because AE came across Carson's dead body soon after Tuco and Blondie did. He noticed that the dead Carson was no longer wearing his uniform, so now he figures the uniform Tuco's got on must be Carson's. Maybe Tuco talked to Carson before he died and found out about the gold? Well, it's worth administering a beating to find out. Interestingly, in this version AE gives the beating, not Wallace (Wallace is outside with the musicians). The scene as it plays out seems potentially funny: Tuco keeps insisting for the longest time he's Carson, and every time he does he gets a blow . . .
I wonder why they changed the relationship between AE and Tuco/Blondie? It isn't necessary to the plot that they had known one another before. Hmmmm.
Interesting. I don't know why Leone changed the relationship. Most screenwriters wouldn't have, it's quite confusing. GBU is the first Leone film I have seen, and that relationship confused me a lot. When my parents told me there were 2 "prequels" (they remembered they were somehow linked), I thought it made a lot of sense... until i saw FoD and FFDM and saw for myself the relationship wasn't explained.
However, I'm sure glad the relationship is what it is. To me it's part of the mythology of the film. This and more generally the way the 3 characters are introduced to us, the weird 2 protagonists structure, is one of the main reasons why GBU feels so much "bigger" than the 2 previous ones. Leone always said westerns were like swords and sandal films, but only GBU is Homer-grade stuff.
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I'm going through the chapter where Hanley compares the film to what was in the original Italian script (he doesn't mention a translator. Did he translate it himself?) The most interesting thing so far: In the Betterville sequence, in the original, Angel Eyes didn't know Blondie and Tuco nor they him. They meet for the first time at the camp (thus, there are no earlier missing scenes). However, as AE explains to Tuco, he knows Tuco isn't Carson because AE came across Carson's dead body soon after Tuco and Blondie did. He noticed that the dead Carson was no longer wearing his uniform, so now he figures the uniform Tuco's got on must be Carson's. Maybe Tuco talked to Carson before he died and found out about the gold? Well, it's worth administering a beating to find out. Interestingly, in this version AE gives the beating, not Wallace (Wallace is outside with the musicians). The scene as it plays out seems potentially funny: Tuco keeps insisting for the longest time he's Carson, and every time he does he gets a blow . . .
I wonder why they changed the relationship between AE and Tuco/Blondie? It isn't necessary to the plot that they had known one another before. Hmmmm.
But as is is in the finished film it is easier to explain why AE knows that Tuco is not Carson. And Leone has there paths crossed already once in the film, which is a good idea. And the scene with AE and the dead Carson would have made the already long film longer.
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Back to Hanley's book: I received my copy yesterday ! It weighs a ton.
Photo of my fireplace mantle with the new book in position, with my "rock" from the arch from Once Upon a Time in the West. GBU coffee mug - I bought a few a decade ago as one of a kind gifts.
(http://i613.photobucket.com/albums/tt211/Cussboy/GBU%20Mantle_zpsi50muhgj.jpg) (http://s613.photobucket.com/user/Cussboy/media/GBU%20Mantle_zpsi50muhgj.jpg.html)
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Looks great. Is that a photo or artwork from Butch Cassidy just showing above the books :)
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Hanley's book is excellent, but one thing sorely lacking is an outline of the film's production history. Even Frayling is rather vague about the chronology. I know location scouting was done in March of 1966. I know that the English dub was prepared in Oct/Nov. 1967. I know the shoot lasted 13 weeks. But which 13 weeks? Can anybody point me toward the info?
You're quite right. It was very, very hard getting any sort of details about the film, and production details would have been very nice, e.g. dates etc, as you pointed out. I would have liked to get some production documentation, such as copies of each day-to-day work schedule ("programma di lavoro") or work contracts etc. One potential source was Serena Canevari (script girl), who passed away before I started work on the book. I was also unable to locate/contact her sons etc - her work diary, if it still exists, would have been very helpful. Another good possibility was Alberto Grimaldi Productions S.A. I got in contact with Alberto Grimaldi, now 91, a long time ago and he agreed both to an interview and to write a foreword for the book. A couple of years later, I was unable to contact him again. I'm sure that he and his production company have files about the production of the GBU. Alberto Grimaldi has, according to Google, a son, Maurizio, but the Dr Maurizio Grimaldi I tracked down, who graduated at a medical school in Naples and is currently working in the USA, was not the correct Maurizio Grimaldi. Carlo Leva, assistant art director, may have some documentation about pre-production and production, but he turned out to be quite difficult in terms of cooperation (a long frustrating story). I got some help from the family of Carlo Simi, but the material was quite limited. I never came across a treasure trove of information, which would have made things much easier. Sergio Leone Production (offices at the residence of Carla Leone) provided some photocopies of some documents, but these were unhelpful. Getting documentation of production ("chronology" etc) was certainly on my wish list.
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Thanks for your response. I hadn't realized the issue was so vexed. Who would have thought it? Well, it's clear you've done your "due diligence." Now it would be nice if we could find more answers.
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Hanley's book is excellent, but one thing sorely lacking is an outline of the film's production history. Even Frayling is rather vague about the chronology.
Frayling does say that the shooting period ran mid-April to mid-July. Obviously that includes the Spanish locations, followed by the studio work in Rome. It would be handy to know what the proportion of each was to the whole. Also, what were the first/last scenes shot.
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I love the way that Le Bon can tell that the photo above the books is from the final shot of butch cassidy and the sundance kid - what an observation.
I have to say though, out of all the inhabitants of the mantelpiece - that mug is sheer tat! :D
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I love the way that Le Bon can tell that the photo above the books is from the final shot of butch cassidy and the sundance kid - what an observation.
Ha ha true - it's that classic shot:
(http://mormonmatters.org/wp-content/uploads/2008/08/butch_cassidy_and_the_sundance_kid1.jpg)
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I think my favorite pic in the book is the one that shows how they filmed the POV shot of Tuco stopping the horses in the runaway carriage. You never actually see the carriage in the shot. As you see in the pic, It was actually filmed from the sunroof of a car; the reins (and presumably horses, though you can see them in the pic) were being held by someone standing with his head out the sunroof of a car; the cameraman and Leone also had to squeeze out the same sunroof.
The book is not in front of me at the moment, but I believe the pic I am referring to is on page 206.
I also like the pic of the full cantero Moderni - 6 male and 6 female singers; but I don't think any female voices were used for GBU. Of course, Edda del'Orso in Ecstacy of Gold. But in the songs that use a choir, I don't think there are any female voices.
Another of my favorite pics is the one taken behind the Langstonbe Bridge, so you can actually see the walkway of teh bridge; most shots we've seen of the bridge are on the side.
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Book now available on Amazon.uk
https://www.amazon.co.uk/Behind---scenes-Sergio-Leones-Good/dp/3000404767/ref=sr_1_3?s=books&ie=UTF8&qid=1465063088&sr=1-3&keywords=good+bad+ugly
I now have my copy and I concur, it's simply amazing.
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Is that a photo or artwork from Butch Cassidy just showing above the books :)
It's an "arty" line rendering of that final scene from that film, with the tag line "You never met a pair like Butch and the Kid". I actually pulled it out of somebody's trash about 35 years ago, and made the frame for it from a kit (I screwed up one miter, sawed it by hand).
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A Johnny come lately, I ordered it today O0 O0 O0
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One of the stills in the book seems to show another trimmed scene. On page 13. It shows Tuco flanked by two deputies on horseback at the second hanging scene. It was obviously decided to cut it at a later stage. Its not mentioned in the original script chapter.
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The UK pound is dropping cuz of uncertaintly over Brexit vote. So, for those of you who haven't yet bought the book, I imagine the UK Amazon site will be a good place to buy it or anything else now; you'll probably get a favorable exchange rate if you time it properly ;)
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Drink, thanks, great point. Even though I already have a copy I have friends with summer birthdays coming up. What would make better presents than copies of this fabulous book? Did I mention that there's a contest on? He who buys the most copies before Christmas wins!
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Wowwww - BBC is forecasting that Britain will keave the UK (52-48) , a big surprise; earlier one of the leaders of the Brexit push had said he thought they'd lost.
The pound is in a free-fall against the dollar. (Worldwide markets in general are falling, actually.)
Definitely compare prices between the UK and German Amazons including shipping.
I am no investor, don't take any investment advice from me. The pound could fall further in a week. But that thought occurred to me, if I'm going to buy stuff from a foreign site, UK may be the way to go
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Good idea, I just did it. I'm afraid I took the last copy from the UK website.
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Good idea, I just did it. I'm afraid I took the last copy from the UK website.
I think the site has been saying "one copy left" for quite some time. I don't think it means anything.
So, who knows how much further the pound may fall?? Maybe I should buy pounds and hold them for a while ;) Currency trading fascinates me (I've never done it) but sounds incredibly risky ;)
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Markets are sinking http://hosted.ap.org/dynamic/stories/F/FINANCIAL_MARKETS_ASOL-?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2016-06-24-10-26-41
David Cameron announced that he will resign
http://hosted.ap.org/dynamic/stories/E/EU_BRITAIN_EU_CAMERON?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2016-06-24-04-15-15
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Just for the hell of it, I just compared the UK and German Amazon sites, and checked the currency conversions on Google:
At 3:32 p.m New York time on Friday:
The book cost 51.02 pounds on the UK site, which equals $69.67.
On the German site, it costs 64.95 euros, which at the moment equals $72.73.
(I did not compare shipping costs.)
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Peter, how was the conference at the University of Bradford (UK)? I noticed you were one of the invited speakers.
http://www.bradford.ac.uk/ei/media-design-technology/film-and-media/current-thinking-on-the-western-3/
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Peter, how was the conference at the University of Bradford (UK)? I noticed you were one of the invited speakers.
http://www.bradford.ac.uk/ei/media-design-technology/film-and-media/current-thinking-on-the-western-3/
I really enjoyed the meeting, which was well organized by Lee Broughton and Mark Goodall. It was particularly interesting to see how film academics present their work. They tend to use quite figurative language and lots of jargon, like hypermasculine, anti-hero, tropes etc. The presentations, or "papers" as they are termed, were really fascinating, although I thought that the analogy bewteen Steven Spielberg's "Jaws" (1975) and a Western was pushing things.
It was great to catch up with Alison McInnes and Ulrich Bruckner, who had hardly changed since we met in Almeria, 2004, when Mario Marsili made his film, "Per un pugno di Sogni" - a tribute to Italian Westerns and Italian Western directors.
I had the privilege of meeting Christopher Frayling. He has an impressive, encylopedic knowledge of film and film makers. I was most impressed by his down-to-earthness, despite his prominence in the field.
One of the highlights of the meeting was Alex Cox's presentation, which was basically the history of Westerns.
Best,
Peter
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Sounds great!
Do you know if the video will be available online?
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Glad to know intellectuals still find the Italian Western genre worthy of analysis and discussion after all these years.
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sounds great.
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One of the highlights of the meeting was Alex Cox's presentation, which was basically the history of Westerns.
I'm guessing he didn't start with The Odyssey or The Aeneid or made any mention of Middle Age romances. Still, even an incomplete account would be interesting. I hope he is publishing this.
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They tend to use quite figurative language and lots of jargon, like hypermasculine, anti-hero, tropes etc.
It's weird isn't it? Some academic disciplines need specific terminology because they quite simply need to refer to concepts that no-one else ever really thinks about so don't know the words, and yet other disciplines just seem to use it for style when they could perfectly well write it in a more accessible manner. I'm thinking of the difference say between Frayling's "Spaghetti Westerns" book and his Leone biography; the latter is so much more readable, yet certainly no less scholarly.
One of the highlights of the meeting was Alex Cox's presentation, which was basically the history of Westerns.
Did he mention anything about "Tombstone Rashomon"?
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Sounds great!
Do you know if the video will be available online?
I don't think that it is available online. It may be possible to get a copy via Mario Marsili. I think he is now living in Arizona (?).
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Uh, oh. Both amazon.co.uk and amazon.de are showing no stock. Peter?
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I don't think that it is available online. It may be possible to get a copy via Mario Marsili. I think he is now living in Arizona (?).
I remember Mario Marsili did a couple of great SW interviews. Most notably these two with Sollima:
http://website.lineone.net/~braithwaitej/mainsite/overview/nighteagle/nighteagle.htm
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I don't think that it is available online. It may be possible to get a copy via Mario Marsili. I think he is now living in Arizona (?).
I don't know who that is. Any way you can find out? I'd be willing to pay for a DVD. Perhaps others on the board would be, as well ;)
Thanks!
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I don't know who that is. Any way you can find out?
He was a member here for a while a very long time ago (the contact info is probably out of date now):
http://www.fistful-of-leone.com/forums/index.php?topic=3620.msg39178#msg39178
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Uh, oh. Both amazon.co.uk and amazon.de are showing no stock. Peter?
1 - I made former board member Lewis Hawk order his copy the other day. May be ended up getting the infamous "one item left" on the UK website.
2 - Nobody's telling you anything because all the board members are assholes (needless to say, except for Marmota-b but she isn't around anymore) but I'm really enjoying your changing signature pics.
Markets are sinking http://hosted.ap.org/dynamic/stories/F/FINANCIAL_MARKETS_ASOL-?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2016-06-24-10-26-41
David Cameron announced that he will resign
http://hosted.ap.org/dynamic/stories/E/EU_BRITAIN_EU_CAMERON?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2016-06-24-04-15-15
The greatest news about all this apocalypse is that the buyer of my grandparents house, that I love and that I really want to keep around, is English. He was about to sign the contract the other day but BOOM, Brexit, the £ dropped a lot and he may need a visa every time he wants to go to his lovely summer house very soon. So he's now reconsidering the whole deal, which is great: the longer I keep the house, the more tolerant I am with DJ's weird tastes.
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I got my copy today O0
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looks like there are no more copies of the book available from Peter on the UK or German site. A couple of copies available from other sellers on the US and UK sites, at huge markups. But no more regular-priced books available from Peter.
What's the deal - did Brexit cause a run on the books? ;)
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looks like there are no more copies of the book available from Peter on the UK or German site. A couple of copies available from other sellers on the US and UK sites, at huge markups. But no more regular-priced books available from Peter.
What's the deal - did Brexit cause a run on the books? ;)
The GBU book should soon be available again. Amazon temporarily "suspended" the seller account since some irregularity needed to be clarified. I presume that the account will be reactivated soon.
Best,
Peter
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I just started reading my copy, great photos.
Don't kill the messenger, but I've come across 2 errors so far:
p. 8. (middle right) states "Unite States Army", the "d" is missing
p. 13 Figure 1.7, states "previously Bank of El Paso in A Fistful of Dollars", should be "For a Few Dollars More".
Photos really show Leone demonstrating to the actors exactly what he wanted them to do, even the way the soldiers held their guns when the prisoner was wearing the sign board, to be historically correct.
April 15, 1862 there was a small Civil War battle at Picacho Peak, the only Civil War battle in Arizona territory, so even west of New Mexico territory.
www.civilwar.org/battlefields/picachopeak.html
https://en.wikipedia.org/wiki/Battle_of_Picacho_Pass
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I just started reading my copy, great photos.
Don't kill the messenger, but I've come across 2 errors so far:
p. 8. (middle right) states "Unite States Army", the "d" is missing
p. 13 Figure 1.7, states "previously Bank of El Paso in A Fistful of Dollars", should be "For a Few Dollars More".
Photos really show Leone demonstrating to the actors exactly what he wanted them to do, even the way the soldiers held their guns when the prisoner was wearing the sign board, to be historically correct.
April 15, 1862 there was a small Civil War battle at Picacho Peak, the only Civil War battle in Arizona territory, so even west of New Mexico territory.
www.civilwar.org/battlefields/picachopeak.html
https://en.wikipedia.org/wiki/Battle_of_Picacho_Pass
Well spotted errors. The "Unite States" mistake was not in the original manuscript text, but the error was introduced after taking the text document from (English) Microsoft Word to a (German) Mac Word program, and then flowing the text into (German) Adobe InDesign. "United States" was changed to "Unite States", along with other unwanted changes, presumably via some sort of auto-correction function (!). After the book was printed, I started reading chapter 1 and "Unite" sprung out of the text, and so I decided to stop reading further! It's always like that when you do proof-reading . . .
Best,
Peter
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amazon.de has the book listed again (@ 65 Euros). I can't find it on amazon.co.uk
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It still is not on Amazon itself, but on Amazon Marketplace, which means it is from a private seller using Amazon. I think it is also not possible to buy it in a book shop, it is probably only available over that Amazon Marketplace seller, which is as we all know the author himself.
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amazon.de has the book listed again (@ 65 Euros). I can't find it on amazon.co.uk
The book is available at Amazon.de for worldwide shipping, but it is currently not linked to the other 4 Amazon-Europe sites. I think that the listings were automatically deleted while the book sales for temporarily suspended for some weeks. When there is no activity after X weeks, the listings may be deleted. I will sort it out when I get back from holiday.
Best,
Peter
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CINEMA RETRO gives the book a rave review in the current issue (Claudia Cardinale and THE PROFESSIONALS on the cover!)
Congrats to you.
Looking forward to reading this. Someday.
Bruce Marshall :)
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I've been savoring it in small bits and pieces, last night I made it to chapter 10.
I haven't flipped ahead to spoil it.
Anyway it's intriguing reading the various accounts of the premature blowing of the bridge.
I'm hoping somebody took a still of the first bridge just before it was detonated. According to accounts it was substantially stronger, the mention of trucks driving back and forth across it suggests it was more than just an elaborate prop. Though I've never really checked on the film that closely between the two, you may be able to see some differences.
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Ok finished the book the other night, Bravo!
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Bravo!
Yup. O0 O0 O0
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I've been long ago, but this looks incredibly interesting. Definitely expressed an interest on the site.
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I've been long ago, but this looks incredibly interesting. Definitely expressed an interest on the site.
It's worth it, and long overdue.
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amazon.de is showing this as "Currently Unavailable." Is the first printing sold out?
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I note that Mr. Hanley has an essay in a recent anthology called Reframing Cult Westerns https://www.amazon.com/Reframing-Cult-Westerns-Magnificent-Hateful/dp/1501343491/ref=sr_1_1?
The article apparently treats the relationship between history and GBU. Can anyone tell me if this is substantially the same material from the first chapter of the Behind the Scenes book?
Although this new volume is tempting, it's too expensive to buy sight unseen. I wish there was a library somewhere where I could sample a few pages.