:12:00
But in the transformation of shooting
script into final script that they made,
:12:06
the idea of an Anglo family and a Mexican
family gave it a kind of racial edge.
:12:11
We're in a Hispanic society where there's
a racial conflict within the community.
:12:36
Eastwood worked
very cheap indeed for this film.
:12:39
He worked for $15,000 all-in fee,
plus a six-week holiday in Spain.
:12:44
The other actors who
were considered for the part,
:12:47
Charles Bronson,
James Coburn, Henry Fonda,
:12:50
and even some expatriate American
actors living in Rome like Rod Cameron,
:12:54
aged 54, who'd been
Buck Jones' stunt man
:12:57
but was still around making Westerns
in Italy, they all proved too expensive.
:13:02
Eastwood, who was a refugee
from the TV series Rawhide
:13:07
when he went over for the summer to
shoot in Spain and Italy, came for $15,000.
:13:11
So, Don Miguel, I do work cheap.
:13:25
This is the first classic Mexican
face-off in Leone's Westerns,
:13:30
where the Ione stranger
has this sharp, hip dialogue,
:13:35
and the baddies are much more abusive
than they are in American Westerns.
:13:39
And the tension builds up.
:13:41
In a Hollywood movie of the time,
this would take ten seconds.
:13:45
Stranger would stand there,
pull his gun, there'd be a fight.
:13:48
This is heightened into a form of rhetoric.
:13:51
It's the first example of Leone taking a
classic situation from a Hollywood movie,
:13:56
pumping it up,
:13:58
and making it into something
a bit more exciting for '60s audiences.