:41:02
by exploring the stores
in the Rojo residence.
:41:15
Soundtrack design
is another distinctive feature.
:41:19
Not only the music, but the way
in which natural sounds are amplified.
:41:24
In Italy, everything was postsynchronised.
:41:26
There wasn't a tradition
of shooting direct sound.
:41:29
So you have a guide track
when you're making the film,
:41:32
but when you go into dubbing
you do what you like.
:41:35
You can construct
all the layers of sound.
:41:38
Fellini had done it, Pasolini
was to do it, Visconti had done it.
:41:42
All the greats in Italian cinema
used sound design.
:41:45
Leone said that sound
was 40 per cent of a movie.
:41:48
So what you get is, say, a gunshot
followed by a horse whinnying,
:41:52
followed by silence.
It's all constructed that way,
:41:55
in order that the soundtrack should also
contribute to the tension in the audience.
:42:01
And, of course, Morricone and Leone
collaborated on the sound design,
:42:05
by also superimposing the music on that,
:42:08
bringing natural sounds
to the soundtrack.
:42:11
Score, as well. So music
and natural sound play off each other.
:42:15
But they're experimenting.
:42:17
It's an apprentice movie
for Leone, in a sense.
:42:20
He'd made sword and sandal,
it's his apprentice Western.
:42:23
They're experimenting with sound, trying
to bring it out, but they haven't the budget.
:42:28
The dream was that all the music would
be written before the movie was shot,
:42:33
and the entire movie be shot
to a prerecorded soundtrack.
:42:37
But they couldn't afford that,
and couldn't afford that for the next movie.
:42:41
They began with The Good, the Bad and
the Ugly, Once Upon A Time in the West.