: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.
:43:04
This shootout, it has to be said, does
resemble a traditional B-movie shootout.
:43:10
Two sides taking pot shots and no one
shooting each other, like a TV Western.
:43:15
What makes it distinctive is this
crosscutting between the cemetery
:43:19
and the stranger banging the barrels, and
there's syncopation between the sounds.
:43:25
He bangs the barrels once or twice,
a similar number of shots at the cemetery.
:43:29
He bangs it again,
you get a similar number of gunshots.
:43:33
So the sound is what links
these two simultaneous events together.
:43:41
Four bangs, four shots.
One, two, one, two.
:43:46
First example of Leone's fast crosscutting
that became distinctive of his cinema.
:43:51
The idea of two simultaneous things
that can't know about what they're doing,
:43:55
but there's an aural connection
or a visual connection between them.
:43:59
It's pure style, it's got nothing
to do with the real world.