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.
1:04:02
The sacred guitar.
1:04:05
He was a performer in nightclubs and
music halls with his Cantori Moderni,
1:04:09
"The Modern Singers".
1:04:11
Alessandro was responsible for
a lot of the sounds on the soundtrack.
1:04:25
As Leone's cinema progressed,
the music started using
1:04:28
traditional folk instruments much more,
1:04:31
so you have the marranzano,
or the Jew's harp,
1:04:35
that twanging which became
associated with the Eastwood character.
1:04:39
And the argilophone,
a ceramic instrument,
1:04:43
also a traditional Sicilian instrument.
1:04:46
And the sense of Italian folk story
1:04:49
superimposed on the Western... You get
a sense of unusual instruments, whistling,
1:04:53
and this sense of isolation in the music,
1:04:55
but this would develop
as Leone's cinema developed.