: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 AlmerÃan 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.
:19:03
And they tried a bit to find a theme,
and eventually Morricone recalled
:19:07
he'd written an arrangement of the
Woody Guthrie song "Pastures of Plenty"
:19:12
a few years before,
with Fender Stratocaster,
:19:14
with choir, with all these
natural sounds and whipcracks.
:19:18
Leone said,
"Take the vocal track off it, let's hear it. "
:19:21
They did, and it is identical
to the main track of Fistful of Dollars.
:19:26
Morricone and Leone wanted
Mexican gypsy peasant music
:19:31
as part of the background to the
musical track, this idea of San Miguel,
:19:36
a village in northern Mexico,
which is a village of death.
:19:39
So they were keen to have
mariachi trumpet, gypsy sounds.
:19:44
Leone particularly
remembered "Deguello",
:19:46
the theme that Dmitri Tiomkin
had written for Rio Bravo,
:19:50
when John Wayne as Sheriff Chance
and Ricky Nelson are holed up in the jail,
:19:54
and they can hear this lament
going on down the street.
:19:58
Ricky Nelson says,
"That was what they played at the Alamo