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: An interview  ( 10029 )
Biondo
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« : April 27, 2004, 02:47:54 AM »

I have found this interview to Leone (in Italian) at this link:

http://show.supereva.it/sergioleoneweb/index.html?p

, and I have tried translate it, but only the first question at the moment:

Which is your way to see the things concerning the cinema?
 
Leone:- The cinema has to be show, the public wants this.  And for me the most beautiful show is that one of the myth.  The cinema is myth.  Then, behind this show, you can suggest  all what you want:  the present time, politics, social critic, ideology.  But you must make it without to impose, without to act dishonestly, without to obligate people to endure.  There's  the show and then, in second struck, if one wants he can also  find the reflection. It is a lot more honest to work in this way, as an example to introduce politics  in this way, than not to expect to say the truth at all costs. It's just when it is believed to say the truth (and therefore to represent the reality objective ) that you say the greatest lies. There Are films directed from directors "of left" (politically) who are true reactionary apologies, and viceversa.  in conclusion, the cinema is fantasy and this fantasy, for being truly complete, must have a thickness.



Qual è il suo modo di vedere le cose a proposito del cinema?

Leone:- Il cinema dev'essere spettacolo, e' questo che il pubblico vuole. E per me lo spettacolo piu' bello e' quello del mito. Il cinema e' mito. Poi, dietro questo spettacolo, si puo' suggerire tutto quello che si vuole: attualita', politica, critica sociale, ideologia. Ma bisogna farlo senza imporre, senza prevaricare, senza obbligare la gente a subire. C'e' lo spettacolo e poi, in seconda battuta, se uno vuole puo' anche trovare la riflessione. E' molto piu' onesto lavorare cosi', presentare ad esempio la politica in questo modo, che non pretendere di dire la verita' a tutti i costi. E' proprio quando si crede di dire la verita' (e quindi di rappresentare oggettivamente la realta') che si dicono le piu' grandi bugie. Ci sono film diretti da registi di sinistra che sono veri e propri apologhi reazionari, e viceversa. Insomma, il cinema e' fantasia e questa fantasia, per essere veramente completa, deve avere uno spessore.

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« #1 : April 27, 2004, 03:47:55 AM »

It's a very good interview. There are very interesting things about the dollar trilogy and about Tuco. If I understand, Leone wanted to play Tuco? Biondo, tell me if I'm right cause it's very very interesting. Thank to you for the link... :D :D


Le monde se divise en deux catégories: ceux qui ont un revolver chargé, et ceux qui creusent; toi tu creuses...
Biondo
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« #2 : April 27, 2004, 04:30:06 AM »

Of all the personages of your films, you seem to feel a particular affection for the Mexican Tuco of "il bouno il brutto e il cattiivo".  

Leone:- It's True.  Tuco represents, like then Cheyenne, all the contradictions of the America, and in part also mine.  Volontè would have intentional to interpret that personage, but I don't think it would be the right  choice.  He would have become a neurotic personage, and I instead had need of an actor from the natural comic talent.  Thus I chose Eli Wallach, of usual employed in dramatic parts.  Wallach had in himself something of chaplinian, something that many never have evidently not understood.  And instead, for Tuco it was perfect.

Di tutti i personaggi dei suoi film, lei sembra provare un particolare affetto per il messicano Tuco di Il buono, il brutto, il cattivo.

Leone:- E' vero. Tuco rappresenta, come poi sara' Cheyenne, tutte le contraddizioni dell'America, e in parte anche le mie. Avrebbe voluto interpretarlo Volonte', ma non mi sembrava una scelta giusta. Sarebbe diventato un personaggio nevrotico, e io invece avevo bisogno di un attore dal naturale talento comico. Cosi' scelsi Eli Wallach, di solito impiegato in parti drammatiche. Wallach aveva in se' qualcosa di chapliniano, qualcosa che evidentemente molti non hanno mai capito. E invece, per Tuco fu perfetto.

I'm sorry john, I cannot understand your question!
ask me something preciser

« : May 01, 2004, 09:39:04 AM Biondo »
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« #3 : April 27, 2004, 06:54:14 AM »

Did Leone want to play the role of Tuco?
Voglio sapere se Leone voleva interpretare il ruolo di Tuco nel film...perche il mio italiano non è perfetto ma ho credutto capire che Leone voleva giocattore questo personnagio...???


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Biondo
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« #4 : April 27, 2004, 10:19:42 AM »

I have read the page"Il Buono il Brutto e il Cattivo", but I have not found nothing concerning what you say.  you  could write the words that you have read about Tuco here, therefore I try to translate in English!


Did The idea of the "Trilogy of the dollar" exist since the beginning  or is matured after the succes  of  A fist of dollars?

Leone:- It existed in departure.  Sure, if the film had not had succes, I would have stopped there.  It's a risk that I have accepted integrally since the principle, and nobody was disposed to bet on the good outcome of the film.  the greatest shopkeeper of Florence, Germani, after to have seen A fist of dollars, he said to me:  "Leone, you have made a master-piece that  will not embed a dollar. How could you think about a Western where  the feminine role is reduced to a walker-on ".  And I answered :  "You Think that I have made it exclusively for this.  Perhaps you will be right, but we will be to see ".  Then, after that the film came out , Germani  made always the possible  in order to avoid to meet  me, it's sure that I would have had a pair of things to say to him.

Biondo
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« #5 : April 29, 2004, 01:02:11 AM »

beyond to john,  is not there anybody else interested  to this interview?    ???

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« #6 : April 29, 2004, 03:15:03 AM »

Yep, you betcha, I'm reading, I'm reading, and if I feel like making a comment I'll send one, don't worry - keep up the good work!! :D


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« #7 : April 29, 2004, 03:35:24 AM »

yes biondo, i'm interested too.


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« #8 : April 29, 2004, 07:50:33 AM »

Hey Biondo, I read again the texte I understand my mistake, sorry for this...It's a very good interview-I not read all the texte but I'll do.
And if someone is interesting, there is 6 or 7 pages concerning Leone in "les cahiers du cinéma", a french revue about...the cinema ;D. I read it today (when I was in class :o) and it's very interesting, but in French and it's hard to understand. It means particulary about GBU because of his new version in DVD, but there is a lot of thing about his others movies...


Le monde se divise en deux catégories: ceux qui ont un revolver chargé, et ceux qui creusent; toi tu creuses...
Biondo
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« #9 : April 29, 2004, 11:30:33 AM »

Ok!  I  go on.
I've also asked for the name of the journalist and the date of the interview, I'm waiting for the answer from the webmaster of that page.


There are some references to the Greek tragedy  in  A fist of dollars, can we explain these like cultured citations, or have these references others mean to you?

Leone:-
Not, no citation.  It's that it cannot be thought to a western without to make reference the classics.  In fact,  there is not only the Greek tragedy (than however it is fundamental), but also Shakespeare, that  had resumed practically everything from the classic tradition.  And then,  I've always said  that the greatest western's writer  is Omero, and that its personages are  but the archetypes of the heroes of the West.  Ettore, Achille, Agamennone are  but  the sheriffs, the gunmen and the outlaw of the antiquity.   In  the film there are other "cultured" references.  I think to Goldoni and its  Harlequin servant of two master.  The personage of Clint Eastwood finds himself between two gangs  fighting against each other and, serving  at a time one gang then the other, he just accelerates  the destruction of both.  it is an outline of the comedy of the art that comes directly from the classic work of Plauto and Terenzio.  In this way, Eastwood assumes a  political connoted  , cause his action has the taste of the class fight. For sure, politician, but also mythical.  he is a personage who comes from nowhere and in nowhere he goes, and that in the meantime he becomes arbitrator between two nucleus of power.  After all, the true essence of my cinema is this: it is  a  fable full of couplings with the contemporary reality.

« : April 30, 2004, 01:55:43 AM Biondo »
Biondo
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« #10 : May 01, 2004, 03:34:49 AM »

Which is your favourite western film?  

Leone:-
Without doubt "the man who killed Liberty Valance", and clearly more for a thematic issue that for the style.  it is the film in which Ford, for  the first time,  has contradicted himself:  he has shown the true face of the West and, he has abandoned his traditional optimism, has embraced  a more realistic vision and, consequently, pessimistic.  He has shown the other face of the myth.

Biondo
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« #11 : May 01, 2004, 09:35:35 AM »

In your westerns we notice the absence of the Indians.  There are the shapes in wood of "the good, the bad and the ugly",   and some walker-on in "Once upon a time in the West", but nothing else.  

Leone:-
I have a mania for  realism, and I could not conceive the pretended Indians  that, at Hollywood,  they made use of , where also Rock  Hudson, Henry Silva and Ricardo Montalban could seem  Indians.  The Indians make perfectly part  of the picture of  West in my mind, but not in my cinematographic view:  if I had to insert them in a film, I would want them authentic, and at present it is nearly impossible to find them.

Biondo
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« #12 : May 02, 2004, 04:42:04 AM »

if you don't understand something because of my bad translation you can ask me for clarifications/explanations.





The protagonists of "Once upon a time in the West", Harmonica, Jill and Cheyenne, have a personal musical topic.  Frank, instead, doesn't have it.  Why?  

Leone:-
Because the thematic  of Frank makes part of that one of Armonica.  They are the two faces of the man, and it would have been difficult to differentiate them in music.  For this reason Frank  is introduced from a various arrangement of the topic of the harmonica:  he is the interlocutor of the Man, the other face of the medal, and he cannot exist without the other.  For this reason when Armonica kills Frank  he goes away:  it is just  like if he also died, in that moment  in which he loses the object of his revenge, that it is also the scope of his life.  The harmonica seems to only represent the sound of the destiny. I don't know.That one of harmonica  is one of those sounds I like me, and that maybe belong more to the formation of the noises than to the pure notes.  With reference to this, when  "once upon a time in the West" was to the mixing, I noticed that the first two rolls ((rolls of drum)) did not work as I wanted with the music of Morricone.  Therefore I removed music and I left only the noises:  the flag, the wind, the cicadas, the train, the creaking of the wind, the flaping of birds' wings  .   when Ennio saw the  film completed , didn't know anything about  my choice. At The end of the two rolls he  approached to me and  said:  " you know  that it is the greatest music that I have composed !!!".  Years after, an assistant of George Lucas has come to ask   for the noises of those  two rolls.  When the answer was that those noises have not been conserved ,he has watched  us  like we were inhabitants of another planet.  In America they conserve everything, put everything in boxes.  What a bore!.


(I think this interview gives answers to some previous  topic! I refer to the "Indians" and to musics for istance!)

« : May 02, 2004, 04:48:21 AM Biondo »
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« #13 : May 02, 2004, 06:26:43 AM »

I'm really enjoying this Biondo, I always thought in the back of my mind that the reason Leone didn't use Native Americans was because there wasn't any to be found in Southern Spain. Look at the ridiculous depiction of NA's in El Condor, a good choice on Leone's part.


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Biondo
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« #14 : May 03, 2004, 11:21:19 AM »

in the section "you know  that..."  of the web-page above, I found this.....

the beginning scene  of "once upon a time in the west" had to contain the goodbye of Leone to the trilogy of the dollar.  The three protagonists of GBU, Clint Eastwood, Lee Van Cleef and Eli wallach had to be the three gunmen who waited for the arrival of the train to the station of Cattle Corner and then they had to be killed from Harmonica.  This was impossible, although the others were disposed to make it, Eastwood refused, and Leone therefore killed instead Jack Elman and Woody Strode.

Did you know this?

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