Ennio Morricone - Main Theme (The Good, the Bad and the Ugly: Original Motion Picture Soundtrack)
Cinema
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
Ennio Morricone - Main Theme (The Good, the Bad and the Ugly: Original Motion Picture Soundtrack)
Lee Van Cleef, Clint Eastwood, & Eli Wallach in The Good, the Bad, & the Ugly (1966, dir. Sergio Leone)
Ennio Morricone - For a Few Dollars More (For a Few Dollars More:Original Motion Picture Soundtrack)
Ennio Morricone - La Resa Dei Conti (For a Few Dollars More:Original Motion Picture Soundtrack)
“Let us say that I am a disillusioned socialist. To the point of becoming an anarchist. But because I have a conscience, I’m a moderate anarchist who doesn’t go about throwing bombs. I mean, I’ve experienced just about all the untruths there are in life. So what remains in the end? The family. Which is the final archetype - handed down from prehistory.
What else is there? Friendship. And that is all. I’m a pessimist by nature. With John Ford, people look out of the window with hope. Me, I show people who are scared to even open the door. And if they do, they tend to get a bullet right between the eyes. But that’s how it is.”
-Sergio Leone
Clint Eastwood on the set of The Good, the Bad, & the Ugly (1966, dir. Sergio Leone) (photo by Angelo Novi)
On the most important lesson he learned from his work on Sergio Leone’s westerns:
“Never trust anyone on an Italian movie. I know about these things. Stay away from special effects and explosives.”
Charles Bronson in Once Upon a Time in the West (1968, dir. Sergio Leone)
Ennio Morricone - Once Upon a Time in the West (Once Upon a Time in the West: Original Motion Picture Soundtrack) (vocals by Edda D’ell Orso)
Sergio Leone, Eli Wallach, & Clint Eastwood on the set of The Good, the Bad, & the Ugly (1966, dir. Sergio Leone) (via Once Upon a Time in Italy: The Westerns of Sergio Leone)
“I am bringing back the action Western. The cowboy picture has got lost in psychology. There have been too many attempts to explain the motives of both the heroes and the bad men and to make them understandable and acceptable in modern terms. The West was made by violent, uncomplicated men and it is this strength and simplicity that I try to recapture in my pictures.”
-Sergio Leone
Ennio Morricone - The Trio (The Good, the Bad, & the Ugly: Original Motion Picture Soundtrack)
“For me the music is fundamental, especially in a Western where the dialogue is purely aphoristic. The films could just as well be silent; one would understand all the same. The music serves to emphasize states of mind, facts and situations more than the dialogue itself does. In short, for me the music functions as dialogue.”
-Sergio Leone (via)
The Good, the Bad, & the Ugly (1966, dir. Sergio Leone) (via)
Ennio Morricone - Theme From ‘A Fistful Of Dollars’ (A Fistful Of Dollars: Original Motion Picture Soundtrack)
Ennio Morricone - The Ecstasy Of Gold (The Good, the Bad, & the Ugly: Original Motion Picture Soundtrack) Vocals: Edda Dell’Orso
“’How does a film-maker make sure his music is heard? Let me give you an example. If someone has not been invited to a party, but wants to go, what does he do?’ [Ennio] Morricone acts out some noisy Italian bonhomie: ‘Hello everybody, hello.’
He pauses.
‘He doesn’t do this. He knocks at the door, asks for permission to come in, enters the house and then starts meeting people. The music in a film must enter politely, very slowly. The composer does not have to write music at the actual moment a character enters a room - it might be too much. So there is this slow, delicate entry, with a simple sound that allows the film-maker to lower the other, naturalistic sounds.
The human ear can distinguish no more than two sounds of different quality at the same time. Some very nice music doesn’t work because of that: if it is too strong, it can become an element that disturbs the film, rather than giving something to it. Yet in some cases the music must be very, very strong, when it is necessary to give a particular dynamic to the storytelling course of the film, rather than, say, a person’s feelings.”
-excerpted from Guardian Morricone profile, “Screen Saver” (via)
