1:15:02
that he's had at the hands of the Rojos,
he arrived one day on set
1:15:06
and there was a huge argument
going on between Spanish and Italians.
1:15:10
Not uncommon on this shoot.
1:15:12
He couldn't work out what was said,
but Leone said through an interpreter:
1:15:16
"It's all right, Clint, put on your
makeup and come back to the set. "
1:15:21
So he put on the makeup and arrived
back, and found the set deserted.
1:15:25
Just the arc lights there,
looking like vultures in the desert.
1:15:30
And so he thought, "This is it. I'm wearing
all this makeup, I'm hot, I'm fed up. "
1:15:35
So he went back to the hotel
and said, "I'm off to America. "
1:15:39
As he was leaving,
Leone intercepted him and said:
1:15:42
"Look, it'll be all right.
There won't be rows any more. "
1:15:45
"There isn't much money, it's tense,
but let's get this finished. "
1:15:49
And all was forgiven, and that was
the last of the big rows on the set.
1:16:15
An elaborate set piece.
This wasn't an expensive movie.
1:16:20
It was in fact treated as the B-movie
of two films which were being made
1:16:25
by the Italian producers,
Giorgio Papi and Arrigo Colombo.
1:16:30
They made a film back to back with this,
Pistols Don't Argue, or Guns Don't Argue,
1:16:36
directed by Mario Caiano, using the
same sets, some of the same costumes,
1:16:41
and the same composer,
1:16:44
and indeed the same designer.
1:16:47
And Fistful was there
to use the residue of that movie.
1:16:51
So the main one was Pistols Don't Argue,
which no one's heard of since.
1:16:55
Fistful was there as the also-ran.
1:16:58
So there wasn't much money,
that's why they went for Eastwood