:17:01
where they had lots of ceramic pots
and wagons and Hispanic design.
:17:07
The courtyard and part of the interior
:17:09
were shot at the Casa de Campo,
and the rest was reconstructed in Rome.
:17:13
They started in Rome,
for the interiors, went to the set in Spain,
:17:18
the second unit went to Almería,
shot the Almerían material,
:17:22
and then postproduction
took place in Rome.
:17:25
This was a Carlo Simi interior,
which would have been shot in Rome.
:17:41
Mario Brega, playing the rather large
Mexican baddie, the sadistic baddie,
:17:47
had a huge afterlife in Italian Westerns,
where he was typecast in a similar role,
:17:52
and he ended up in The Good, the Bad
and the Ugly as Sergeant Wallace,
:17:56
and spaghetti buffs spot him everywhere.
:18:10
Ennio Morricone's music was...
If we've got the production design,
:18:14
the design of the costumes,
the personal style of the hero,
:18:19
and the Almerían locations
as features of this new kind of Western,
:18:23
then the other element is the music,
:18:25
which we've already heard
at full whack behind the credits.
:18:29
Morricone wasn't, in fact,
the first choice of composer.
:18:33
Leone wanted a man called Lavagnino
who had scored The Last Days of Pompeii
:18:38
and The Colossus of Rhodes,
which Leone had worked on.
:18:41
But eventually he agreed
to go and see Morricone in Rome,
:18:44
discovered he'd been
to school with Morricone,
:18:47
in their primary school together,
and they started reminiscing.
:18:52
They were keen to have
a very different kind of score for this.
:18:56
Much more hip.
Rather as James Bond had been, hip.
:18:59
With the famous main title of James Bond
played on an amplified guitar.