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Does this create a pressure on you to continue in a style similar to your famous westerns? U. S. theatrical poster art. Leone's films move at a slow, deliberate pace and he is more interested in the gradual build up rather than the ultimate pay-off, which happens very suddenly and quickly. Fonda was Leone's favorite actor, so he couldn't pass up the chance to work with the performer. There's the same eerie music; the same sweaty, ugly faces; the same rhythm of waiting and violence; the same attention to small details of Western life. There is a screening of Once Upon a Time In The West at the DM18 festival at HOME in Manchester on 19 October. The theme song is one of those that many try to imitate but few succeed. I love the vast spaces of John Ford and the metropolitan claustrophobia of Martin Scorsese, the alternating petals of the American daisy. He never retired and died of a heart attack in Rome on 16 August 2005.

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For the 'Prohibition Dirge', a stately New Orleans funeral march which turns into hot jazz as the party gets into full swing, Morricone followed the script by providing an arrangement in the mid-1930s style of Louis Armstrong. It becomes a very complicated process that has to be endured. Delli Colli's collaboration with Leone reached its apogee with Once Upon a Time in America (1984), a sweeping gangster epic that earned acclaim at Cannes but was radically cut down in the editing room by its U. distributor. But these writers are only important to me in that they are part of my memory bank and my childhood. He was much faster than I could be at understanding whether a New York accent would lie right on an actor or not. Leone constantly goes back and forth in time, establishing not only the lives of his characters at different stages, but also three distinguished areas of American history: the poverty of Manhattan's Jewish ghettos in the 1920s, criminal life during the 1930 Prohibition era and finally the dangerous streets of 1968 New York. This, in part, was the genesis of the "Spaghetti Western, " a genre Italian writer-director Sergio Leone rode to fame. Yes, total liberty from infancy on. I come right after the letter L in the director's repertory, in fact a few entries before my friend Mario Monicelli and right after Alexander Korda, Stanley Kubrick, and Akira Kurosawa, who signed his name to the superb Yojimbo, inspired by an American detective novel, while I was inspired by his film in the making of A Fistful of Dollars. In reality, if you think about it, they don't even belong to the same profession.

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We showed it to 10, 000 students. 1001 Movies You Must See Before You Die. When you're not making movies, what do you do? I like Fellini and Truffaut. It only shows the unconcerned viewer the luxury that led to its creation: the most complicated camera movements, the most refined crane-tracking shots and pans, fantastic sets, incredibly good actors, a huge railway construction site built just for show so that a coach could drive through it once. Then the Earth was changed. The first is a mask of wax.

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It looks like they have come to 'receive' someone. But still, Leone is in no mood to hurry things. However, those long minutes before the train even arrives are not only all Leone needed to show that this era of American myth has reached its epoch breaking point, but they just about prove that nobody could make a better cinematic interpretation of it than he could. In sum, you've got a long, slow (yes, "Operatic") film, with all those technically difficult close ups (showing off those Spherical lenses!

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As the train slowly pulls out of the station, the figure of Charles Bronson appears on the screen. The minute you touch down on America, you touch on universal themes. The ORIGINAL reviews, particularly in the US, were dismissive, if not downright scathing. I talk about the music of the film long before the filming begins. Where does that leave the present? Have you spent any time in America other than the "casting time" that is behind closed doors? I told him we could shoot 100 meters of eyes—looking here, looking there—and then use them whenever he wanted. This is also thematic in terms of the film I'm doing right now, in the sense that it is a film based on memory. But the populist nature of those films prevented the critics from fairly assessing his work during their time and he would have to wait a while before he received his fair share of critical appreciation. You have said throughout that you draw a lot on the past. Clint Eastwood, Lee Van Cleef and Eli Wallach) in cameo roles as the three gunmen waiting for Harmonica at the start of the film, but when Eastwood was unavailable the idea was scrapped.

Later, Mr. Morton berates Frank for killing McBain family because he only hired Frank and his men for scaring anyone who isn't willing to sell off their properties. Leone actually had red dust from Arizona shipped to Spain so it could be tossed in through the door as the actors entered. Inspired casting, sublime script, spectacular cinematography, iconic costume design and timeless soundtrack by Ennio Morricone mark this out as arguably the finest Western ever made. Claudia Cardinale says she was never told this idea and says she probably wouldn't have agreed to be in the movie if it required this shot (suggesting that Leone, mercifully, gave up on the idea in the writing process).

At precisely this point of the film, where the unconcerned viewer may feel respect, I became very sad when I saw the film for a second time: I felt like a tourist, a 'Western tourist'. Who couldn't think that a short diddy on the harmonica can elicit the amount of suspense it does here. With me, however, he just seemed to want his judgement confirmed every now and again. Though Leone is more closely associated with Akira Kurosawa, the pacing of his films are very similar to that of another Japanese master Yasujirō Ozu. What advice would you have for young people who want to be directors? It was 1963, and he was looking for money from our producer, the former goalie of the Real Madrid [soccer team], who in turn was being financed by a pharmaceutical company. One such moment was the very last image of the film, when the main title theme was repeated, with soprano harmony, as Noodles inhales the smoke of an opium pipe, lies on his back and, finally, smiles. When they ask me what I ever saw in Clint Eastwood, who was playing I don't know what kind of second-rate role in a Western TV series in 1964, I reply that what I saw, simply, was a block of marble.