: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.
:22:11
In 1950, Hollywood Westerns
had been 34 per cent of all releases
:22:17
that were made in Hollywood.
That's 150 movies.
:22:20
In 1963, when Fistful of Dollars
was first planned,
:22:24
Westerns represented nine per cent
of Hollywood output. That's 15 films.
:22:29
So it had gone from 150
in 1950 to 15 films in 1963.
:22:33
Leone said,
"The Western's dying in Hollywood."
:22:36
There was a huge market for Westerns in
Europe, particularly in Italy and Germany.
:22:41
People who'd grown up in the 1930s,
:22:44
for whom the Western
was a model of freedom.
:22:46
They'd grown up under Mussolini.
:22:49
And the Western had been
something to see - this land of plenty,
:22:53
the wide open spaces,
the hero who has freedom of movement.
:22:57
And looking towards the Western