1:02:01
because, "I knew someone like you,
and there was no one to help."
1:02:05
And in the shooting script, there were
about three pages of explanation,
1:02:09
which referred to a prologue which Leone
originally wanted to put into the movie
1:02:14
of an earlier incident in the stranger's life.
1:02:18
That was cut out,
and instead just that one line.
1:02:20
It's the only moment in the whole film
where you get a sense of moral position
1:02:25
on the part of the stranger.
Otherwise, he works for cash.
1:02:28
Instead of, "Man's gotta do
what a man's gotta do",
1:02:31
the crusading element
in Hollywood Westerns,
1:02:34
what you've got is a much more
pragmatic, hip, streetwise,
1:02:39
1960s, on the take, sort of
James Bondian kind of approach.
1:02:43
Although even James Bond, of course, is
working for Her Majesty's secret service.
1:02:48
He has a sense of values there,
but that's a rare moment in this film.
1:02:54
San Miguel is not a moral place.
1:03:02
The ramblas of Almería, done in long shot.
1:03:06
Stunt work as the horse
goes down the side of the sand dunes.
1:03:10
The colouring of Almería is completely
different to Arizona and New Mexico.
1:03:14
It's olive trees, it's grey, it's ash.
1:03:18
It's not red sandstone. It just
doesn't have the same colour palette.
1:03:24
The browns.
Leone's cameraman, Tonino Delli Colli,
1:03:27
who took over from Dallamano from
The Good, the Bad and the Ugly, said:
1:03:31
"Yellows, and beiges, and dust,
1:03:34
and the colour of Almería became
the colour of the Italian Western."
1:03:38
It is a completely different colour palette,
one of the distinctive features of the film.
1:03:45
The choir was conducted
by Alessandro Alessandroni,
1:03:49
who also did the whistling
and also played the guitar in this film.
1:03:53
And, in fact, it was
a Fender Stratocaster guitar
1:03:58
which I have played when
I went to visit Alessandro in Rome.