:20:01
to try and destabilise the defenders, the
Texans who were defending the Alamo."
:20:06
Leone remembered that, said,
"I want a lot of that in the music."
:20:11
"This dirgelike, funereal music.
It'll be perfect. A Mexican dance of death."
:20:16
Later on in the movie,
the "Deguello" would come in full whack.
:20:20
Morricone was a trumpeter
by training, as was his father.
:20:23
So there's a big emphasis
on trumpet in the soundtrack.
:20:32
This part of the score is like some
Renaissance Italian piece of music.
:20:38
It recurs a little bit later on, as well.
:20:44
Very, very strange. Odd juxtaposition.
You're in 19th-century northern Mexico,
:20:49
you get a Renaissance piece
of dance music on the soundtrack.
:20:53
Those were the kind of...
To make the audience sit up.
:20:56
Leone said, "My philosophy
can be summed up with the thought:
:20:59
'I never want the audience to get bored'."
:21:02
He said, "I get bored with Westerns.
People talk too much."
:21:06
"You know, there's a lot of method acting
and a lot of extensive verbiage,
:21:11
and much too much music, and the music
doesn't have much to do with the image."
:21:16
"This method acting has got to the point
where in a film like The Left Handed Gun,
:21:21
if a social worker had been around,
Billy the Kid would never have happened."
:21:25
"I want to go back to the Westerns of the
1930s when I was growing up in Rome."
:21:30
"Lots of action, lots of surprise.
A fairy tale for grown-ups."
:21:35
So the music is important as part
of this strategy of making people jump.
:21:39
"This is odd. I haven't seen it like this,
and it'll keep me concentrating."
:21:43
And also strange elisions of the plot.
As Leone's cinema matured,
:21:47
he'd get very used to telling
stories in a very indirect way.
:21:51
You're not quite sure what you're seeing,
:21:54
then it'd be explained later - all part of the
strategy of keeping the audience on edge.