list of dialogues fistful of dreams

@
@ POR UN PU¥ADO DE SUE¥OS
@ V1151 BOB.B01
@ 26/04/1904

VOICE OVER
1: #There is an old poem…#

2: #that describes
the battle of Thermopile.#

3: #A humble soldier says:#

4: #»My rank is not important…#

5: #and the things, I’ve done,
are not important either.#

6: #What is important…#

7: #is that I fought the battle
with my heart…#

8: #and that…#

9: #in the middle of the battle dust…#

10: #I was there, too.»#

ANTONIO
11: There were no hotels,

12: no taxis,
no cars, no lorries.

13: Not like in the towns.

DIEGO
14: Almería became famous,
whether we like westerns or not,

15: only through Sergio Leone.

16: Leone’s three films.

JUAN
17: It was a blast,
we won the lottery!

18: A goose laying golden eggs.

PEPE
19: As if they were sent
from heaven…

20: the films.

FATHER & DAUGTHER AT «LA SARTENILLA» SET
21: #This is where he made…#

22: #many of his films,
always searching…#

23: #for open spaces
with mountains in the background#

24: Look, Laura,

25: these are remains…

25a: THE HEIGHTS OF
LA SARTENILLA

26: of film sets.

27: This one was used in a western
featuring great Mexicans,

28: and later used in other films.

29: This is where
the western town ended.

30: Look, this was
the end of the western town.

31: It is totally quiet.

32: Here,
you can find bullet shells…

33: that were used…

34: in the westerns
for the shots.
CURRO
35: In the years to come,
people will still talk about Leone.
36: It’s all here.

37: When I die, nobody will talk,

38: as I haven’t created anything.

39: Those, who create something,
are always remembered.

40: The bullfighter Joselito,
«El Gallo»,

41: died about 100 years ago,

42: and they still talk about him.

43: Just like we remember his colleague
Manolete every August 29th.
DIEGO
44: Who should know Almería…

45: if the Americans
don’t even know Spain?

46: They don’t know.
PACO
47: Nobody knew Clint Eastwood.

48: Maybe through some
small jobs in Hollywood

49: but Almería…

50: made him a famous actor.
Before, he used to sell pools.
PEPE
51: I arrived with the tray, right,
52: with the breakfast,
and she let me enter.

53: She came out of the shower,
completely naked.
CARDINALE
54: Why not make another western,
all the people…

55: were asking.
Why not?

55a: WESTERN TOWN
IN CALAHORRA

FOUR MEN AT «FLAGSTONE» SET
56: It was an extraordinary western town.

57: Nowadays,
it would be worth a fortune.

57a: Three times its value back then.

58: If it had been preserved,
even more so.

59: They would have shot so many films,

60: and made money for the area.

61: Many of the stories took place
in the desert,

62: and desert is all that is left,
a total ruin.
TITTLE
63: A FISTFUL OF DREAMS

63a: THE COLOSSUS OF RHODES

CARLO LEVA (starts over)
64: Sergio was a man, who began…

65: to think about cinema,
when he was young.

66: He was the son
of a great director of silent films.

67: He was a real man, an artist.

CREDITS
68: CARLO LEVA
Western town constructor

… CARLO LEVA
69: One day, he called us…

70: his closest co-workers…

71: and asked us to do
a tour of Spain…

72: from the north to the south,

73: from the north to the south.

74: When we reached
the end of Portugal,

75: we started doing west to east,
west to east,

76: moving from north to south.
77: After 25 days,

78: we were well-prepared…

79: and had a good memory of Spain…

80: and the type of nature…

81: that the Spanish territory
could offer…

82: for shooting a western.

83: The first time we saw
the town of Almería,

84: we saw an old wall
with the writing:

85: «Franco! More water.»

B & W NODO (OFF)

86: #After his nomination
as honorary mayor,#

87: #crowds cheering
in the Old Square,#

88: #the Head of State
enjoyed the applauds…#

89: #from the town hall balcony.#

PACO (starts over)

90: #I remember that in Almería,
there was a builder,#

91: #dustmen walking in the streets
with metal bins made like pans.#

92: #some mule carts,#

93: #fishermen,#

94: #and a couple of visitors.#

95: Almería was limited;
there were no roads,

96: no air port, no nothing.

97: We lived far from civilisation.

CURRO

98: Almería was like a big village,

99: where everybody knew everybody.

100: People would go for a walk
in Almería…

101: on Sundays, they strolled
through the main streets,

102: and everybody knew each other
through those walks.

JUAN (stars over, in garden)

103: Back then, my father had a taxi,

104: it was an «onmobile», I remember.
American, second-hand.

105: Just scrap, really.

106: There was a taxi stand.
One day, a man came…

107: and he said:

108: «Would you work with me?
We’re locating…».

109: Not knowing
what locating was,

110: my father said:
«Yes, I’m in!»

111: «We’re locating
and looking at Almería’s terrains.»

TEXT ON BLACK

112: The taxi driver and his sons,
Juan y Diego,

113: became Leone’s trusted men.

114: They took part in 5 Leone films,

115: and in the making of another 300.

DIEGO

116: Leone said: «Come on, Diego,
this road, that mountain!»

117: My father, poor thing,
drove a 1400 B, not even C,

118: that got stuck.
My father said:

119: «Calm down, Sergio,

120: we’ll find the place in Almería.»

121: My father was a driver,
a labourer, a farmer, anything.

122: Obstructions were removed,
and they continued.

JUAN

123: A crazy thing,
it’s like always

124: where «this lad works,
that one doesn’t».

125: This is how my father
got into it all.

CARLO LEVA

126: We always asked him
about places to shoot,

127: and he would propose this or that.

128: We found the three dunes,

129: where «Lawrence of Arabia»
was shot,

130: after he had made us look
everywhere: Tabernas…

131: and that other small village
close to the sea…

132: Carboneras.

133: I was impressed by the beauty…

134: of the nature surrounding that town.

135: The watercourses…

136: There were no modern houses,
137: no electricity, no nothing.

138: It was like America
in the 19. century.

139: We arrived there,

140: and together with
the inhabitants of Almería,

141: we began to work and make films.

TEXT
142: A FISTFUL OF DOLLARS, 1964

CARLO LEVA

143: Don’t forget;
the film took place in America,

144: and all the names
had to be American.

145: Carlos Simi was called
Charles Simon.

146: I was called Charles Lewis.

147: All the names were in English.

VOZ NARRADOR PELÍCULA
If you apologize like I know you’re going to, I might convince her that you really did mean it.

PACO
148: When Leone got here, he said:
«Let’s sit down.»

149: They sat down.

150: Sergio was waving a one-dollar bill
back and forth,

151: and he said:
«Come here, #capello.»#

152: The hat.
TRAYLER
This short cigar belongs to the man with no name.

153: He put it between his lips, lit it,

154: and for him it was…

155: Good gracious!

VOZ NARRADOR PELÍCULA
This poncho belongs to the man with no name.

156: We tried 200 ponchos,
those made in Nijar,

157: and Sergio said:
«This one,

158: but add some little things here
to make the face brighter».

159: We were astonished.

160: Eastwood is a character,
but created by Sergio Leone.

VOZ NARRADOR PELÍCULA
He’s going to trigger a whole new style in adventure.

JUAN (off)
161: They arrived somewhere to shoot,
and depending on the money,

162: you were in or out.

DIEGO (off)
163: The hotel staff
wouldn’t let them leave,

164: because they hadn’t paid.
165: Everybody was tight on money.

JUAN
166: They owed a total of
one or two million pesetas.

167: They were Italians,
nobody knew them,

168: it was #pay or stay.#

CURRO
169: Diego Fernández Senior…

170: did Leone a big favour
in the first film they shot.

171: They had no money, only debts,
and Fernández confronted them.

JUAN
172: «Well, go with them,

173: and don’t return
without the money.»

174: They paid and got out of
the debts in Almería.

175: This was
my first meeting with Leone,

176: and at that moment,
he acted…

177: as a person should:

178: «It’s my responsibility,
and I won’t let you down.»

PACO
179: At that time, the American westerns
were coming to an end,

180: and he pulled off a prototype…

181: out of nowhere,
and people liked it.

PACO (off, while painting)
182: I was a carpenter, a builder,

183: assistant in a grocer’s shop,

184: then in a ham shop.

185: Later on,
I worked as a butcher,

186: then as a fisherman.

187: I worked in a workshop,

188: and as a sculptor,

189: I had a range of jobs.

190: As an actor,
I took the name Frank Barry.

191: Frank for Paco,
Barry for Barrilado.

192: This pseudonym made my name
sound better in English,

193: easy to remember.
The English said #Fran Barry.#

194: At least it sounded similar.

TEXT ON BLACK

195: Stuntman, still active.

196: Worked on Leone’s
Almería films,

197: and has done some 200 films

197a: in the last 40 years.

… PACO

198: When they came to film,
we wanted to join them so badly.

199: When a builder

199a: or a fisherman earned
10 or 15 pesetas,

200: we would make 150 or 200,
working on a film,

201: 200 pesetas a day.

202: OK, we had to bring the food…

203: those of us who had some.

FOUR MEN AT «FLAGSTONE» SET (man 1)

204: This was a western town,

205: created by Sergio Leone.
206: I think it was called #Flaxton.#

207: They shot some films here,

208: adding a bit of liveliness
to the area.

209: And of course,

210: as it looks like a desert here,

211: it gave the impression…

212: of being in an American desert.

TEXT ON BLACK

213: Locals in La Calahorra (Granada).

214: 35 years ago, they built the town

214a: with the Italian, Carlo Leva.

FOUR MEN AT «FLAGSTONE» SET (man 3)
215: They nicked all kinds of things:
Boards, frames, doors, windows…

216: and wooden, hefty beams,
worth a fortune.

217: They took whatever they needed.

218: Later, the Calahorra locals took
what was left:

219: Broken boards.

219a: Well, at least
they served a purpose.
(man 2)
220: If the Charches locals find out…

221: I have to laugh…

222: that you’re blaming them,
they’ll wring your neck.
(man 3)

223: No, they won’t…
224: FOR A FEW DOLLARS MORE,
1965
CURRO

225: Leone’s second film was
«For a few dollars more».

226: But then…

227: when the film started…

228: a written reflection stated:

229: «Where life is worth nothing,
death has a price.»

230: And it carried the Spanish title:
«Death had a price.»

BOYS IN THE STREET (gunfighting)

231: You’re dead!

JOSE
232: This is a hamlet…

233: in Nijar…

234: Called
#Los Albaricoques, «the apricots»#

235: Why this name?

236: According
to our ancestors,

236a: it’s because
the oldest house,

237: which belongs to the father
of the man with the hat,

238: was a farm house
with apricot trees…

239: on each side of the gate…

240: and a vine shaped like an arch.

241: That’s how this hamlet
got its name.
… JOSE (in the countryside)

242: People shoot films here
because the colour…

243: when the sky is completely clear…

244: the colour of the earth…

245: is like burned and golden.

246: For this reason,
if you have a good camera…

247: and the expertise…

248: you can capture
the most beautiful, rich colours…

249: golden, burned.

250: Although the landscape is dry,
there is also a lot of vegetation,

251: and the colours are beautiful
in the films.
MAN with shorts IN THE VILLAGE

252: In 1970, I went to Germany,

253: and I watched this film there.

254: I suddenly noticed…damn!

255: It was my town!

256: I recognised some people,
could it be?

257: The others said:
«That must be Texas,
257a: look at those white houses.»

258: But I said:
«This is my town.»

JUAN
259: In the hamlet of #Los Albaricoques,#
there was a terrain

260: where Volonte was around
with his clock.

VOZ PELÍCULA JEAN MARÍA
When the chimes end, pick up your gun. Go ahead and shoot me if you can. Just try.
Cuando acabe la música coge tu pistola y dispara si puedes. Inténtalo.

MAN WITH HAT SAT IN «ALBARICOQUES» SET
261: This is where they shot the
final duel in «Death had a price».

262: Clint Eastwood and Lee Van Cleef…

263: were dealing with some villains.

264: They killed here and there…

265: piling up 5 or 6 dead men
on a cart.
OLD WOMAN

266: I don’t remember if the cart
was dragged by mules or cows.

267: They threw 8 bodies onto it.

268: One of the fattest nearly died,
he couldn’t breathe.

MAN IN FRONT OF TREE AT ALBARICOQUES STREET
270: They told me…

271: that I was going to do the scene.

272: I had to repeat it
a couple of times,

273: and when I had finished,
I got a bag of apples,

274: some sandwiches, and 400 pesetas.

275: That was more than
what my father earned in the mines.

276: He made around
4000 pesetas a month.
MAN & WIFE (HE)
277: All the men living here,

278: perhaps 12 or 14 of them,

279: they worked in the mine.

280: They died…

281: or fell ill within a few days.

282: They were all mourning…

… SHE
283: -Well, then…
-Shut up, Antonio…

… HE
284: If it’s true,
if it’s because…
… SHE

284a: They were mourning
their husbands…
… HE

285: Look, I never saw my mother…

286: in a polka-dot dress.

287: She wore black all her life.

ANTONIO RUIZ
288: I walked down the
#Avenida del Generalísimo,#

289: past #Hotel Costa Sol,#
and just before I reached them,

290: Sergio called me over:
«ragazzo, vene cui!».

291: I didn’t understand his words,
just his gestures,

292: and I didn’t know what he wanted.
He said:

293: «Te piace laboro en un filme?»

294: I didn’t understand.
Sampere said:

295: «Do you want to be in the film?»

TEXT ON BLACK
296: As a boy, he acted
in two Leone films.

297: Later, he went to London
and worked with actors…

298: such as Yul Brinner
and Robert Mitchum.

ANTONIO RUIZ (on the motor bike)

299: Clint spoke English,

300: and in the back,

300a: Leone would instruct me
in the moves.

301: «Death had a price»
was among his favourite films.

302: He really liked it.

303: For this reason, he always
kept an eye out for actors,

304: looking for the right faces.

305: I think he found some good people
for the film.

306: Why Volonte?
A classical psychopath type,

307: a very good actor.

308: He wanted good bandits,

309: and very good actors.

310: Lee Van Cleef
as a vindictive father,

311: he was unique.

ANTONIO PLAZA
312: When we finished shooting,
for example here,

313: Van Cleef and I left in the car,

314: and Eastwood ran ahead
four or five minutes before us.

315: He walked four or five kilometres.

316: In the meantime, Van Cleef drank…

317: his ginger ale with gin,

318: wondering why he was enjoying
his drink in the car so much,

319: while Eastwood
preferred doing sports.

TEXT ON BLACK
320: Personal driver for Van Cleef…
in the dozen films

321: he shot in Almería.

322: He worked with films for ten years.

ANTONIO PLAZA
323: In view of the friendship,
he had with me,

324: this man gave me…

325: a car…

326: a new car.

327: It was the first Seat
with a Mercedes diesel engine.

328: It cost 210.000 pesetas
at the time.

VOZ NARRADOR PELÍCULA
A walking arsenal. It uncoils, strikes and kills. Un arsenal andante, que desenfunda, dispara y mata.

329: When he gave me the car,

330: we entered
#Captive Boulevard…#

331: during the shooting.
Van Cleef drove the car,

332: the taxi,

333: and I sat next to him,
wearing his hat.

334: I was the actor,
he the taxi driver.

… ANTONIO OVER CAR PASSING AT NIGHT
335: After the shooting,

336: we used to take the film material
to Malaga airport

337: and then to Madrid.

338: We had to return early the next day
to pick up the actors.

PEPE
339: When Van Cleef…

340: finished his work,

341: we said goodbye,

342: and he gave me a cheque.

343: He said to me:

344: «So you can learn how to speak.»

345: But I had already learned.

346: With that money,

347: and the money they gave me
because of my disability,

348: I opened up the stand.

349: I opened it up…

350: 33 years ago, more or less.

TEXT ON BLACK
351: A waiter, he was a good friend
of Mr and Mrs Van Cleef.

352: With their help,

352a: he opened a still-existing stand.

… PEPE
353: I had to eat prawns
in front of them,

354: to show them how to eat prawns.

355: Sometimes,
I got tired of seafood.

356: This is how…

357: I got to know this great man.

358: There aren’t many like him.

359: Well, maybe there could be,

360: but of course, now,

361: life has changed.

362: With Van Cleef and his wife, Joana,
it was pure kindness.

CREDIT
363: Western town in Fraile,
Mini-Hollywood.

CARLO LEVA
364: In Almería, I found…

365: builders, timber merchants,

366: people,
who had never worked with films.

367: With two tool makers from Madrid,

368: and two Italians, we built…

369: those film sets you see here…

370: today.

NODO (VOICE OVER)
371: #Here we have a classical scene:#

372: #Arrival of the disturbing strangers.#

VOICE OFF AT FILM SPECTACLE
373: #A reminder: In 5 minutes,#

374: #the show will begin
in the town square.#

DIEGO (OFF)
375: It’s a great set,
we’re talking the year 1961,

376: 41 years ago.

377: The people from Tabernas,
10 km. away, were lucky,

378: they were offered lots of work;
builders, labourers, painters.

CARLO LEVA
379: It was really like…

380: being pioneers.
Everybody worked with enthusiasm,

381: because they saw
a truly new thing being born.

JOSE (starts over trayler)

382: You could tell that
they were running away…

383: or had stolen something.
384: They arrived, closed the door,

385: and said:
«We haven’t eaten for three days.»

386: They had been followed.

387: They collected wood,
started a fire,

388: and grilled
pieces of meat, or whatever it was.

389: They began to eat,
they drank their wine,

390: and one of them said:
«A noise!»

391: «There is only one exit here,

392: what can we do?»

393: They rode off,

393a: and their pursuers
turned around here,

394: and then they left.
Yes, I remember that scene.
CREDIT
395: THE FARM HOUSE
«El Fraile»
VOICE 1
396: The first money, I earned…

397: I was so keen to take it home,
so my father…

398: We had car drafts,

399: and I wanted my mother, who saved,
to pay those drafts.

VOICE 2
400: With the first money, I earned,

401: I bought an alarm clock.
We didn’t have one.

402: Imagine that.

403: I had to get up in the morning.
One of those with a winder.

VOICE 3
404: With the first money, I made,
I bought a TV…

405: for my parents…

406: because we had no TV.

407: It was in black and white,

408: and everybody watched TV

in my house.

409: FOR SALE.

JUAN
410: With the tale of Leone’s films,

411: no wonder there were
so many other productions,

412: especially Italian,

413: because this was when
the Spaghetti Westerns began.

NODO (VOICE OFF)

414: #Amongst the awning drays
similar to those used…#

415: #by pioneers on the way to Oregon,#

416: #it was easy to find
national film extras,#

417: #who handled a colt
with the same ease…#

418: #as the legendary Tom Mix.#

TEXT
419: THE GOOD, THE BAD,
THE UGLY, 1966.

JUAN
420: In #The Good, The Bad, The Ugly,#

420a: I was newly wed.

421: My wife was expecting my oldest son,

422: so I didn’t want to go to Burgos,

423: nice story.

424: I said to Clint Eastwood
and Eli Wallach:

425: «I’m not going…
my wife…you know…»

426: They said:
«Mari Loli also to Burgos.»

427: Wherever we stopped,
it was a constant fight.

428: Like in a restaurant:
«I’m inviting Mari Loli,

429: I’m paying today…»

430: When I watch this film,
I remember all that.
VOZ NARRADOR PELÍCULA OFF
The good… the bad… the ugly.

Rótulo: El bueno… El feo… el malo.

ELI WALLACH OFF
I met Clint Eastwood and Sergio Leone and we shot some scenes in Rome in a western village and then Clint and I flew to Madrid and he said to me «I don’t like to fly in planes. We’d better drive. We’ll drive twelve hours from Madrid to Almería». And I said OK, so we drove all the way down. I came to this little town and I was amazed at what Almería was when I was there.

But Almería… I’ll always remember Almería.

Rótulo: Eli Wallach. Actor de El bueno, el feo y el malo.

ELI WALLACH
Now I’m an old man, you see. Time. That was 35 or 36 years ago. You know what I do with my birthday – I take off one year every year so I go back. I’m in my eighties.

But Leone knew each shot he wanted and how he wanted it.

Those movies were fun to make. I never dreamed they would turn into classic movies.
When I saw the movie, Leone had a quality to it that was wonderful and the photographer was wonderful, Tonino Delli Colli was the camera man. And the music. I never heard the music until it was over. The Good, the Bad and the Ugly.

And people in the streets of New York, they walk behind me and they whistle the music and I turn around and say «Thank you, thank you» because they remember the movie very well.
ANTONIO RUIZ
432: I was the area’s idol.

433: That’s how I met my wife.

434: She lived there,
I was the film kid.

435: Going by taxi, like I did,
was something.

436: I was a celebrity.

437: But nothing turned out.

438: I would have liked
to pursue an acting career,

439: but it was pretty difficult
when they started in English,

440: and I didn’t have the money
to take English classes.
PACO
441: The main actors get all the fame.

442: We were the doubles, right.

443: A dead soldier,
you hurt your shoulder,

444: and they look for someone else.
ELI WALLACH
It’s like making love. In the theatre it starts, the curtain goes up. You make the approach, you do this, you do that and finally you’re making love. In the movies you get all prepared, you get ready and they say «Cut, go back, we’ll do it again». So I like it, making love on the stage. Making love in the movies pays better, but I prefer to do it on the stage.

PACO
445: All the actors do,
is kiss the girl and they’re off.

446: They go kiss, kiss, turns around,
and maybe it’s someone else kissing.

447: Maybe the actor is a bit lame,

448: and you can’t show a lame actor.
ELI WALLACH
It’s like making love. In the theatre it starts, the curtain goes up. You make the approach, you do this, you do that and finally you’re making love. In the movies you get all prepared, you get ready and they say «Cut, go back, we’ll do it again». So I like it, making love on the stage. Making love in the movies pays better, but I prefer to do it on the stage.
CURRO
449: The entire team is important.

450: The drivers are important,
everybody is, it’s a teamwork.

451: The highest position, I think,
is the director,

452: then the executive producer,

453: and as a result of it all,
of course the actors.

454: Everything is based on the team,

455: a team involves everything,

456: and I think that’s how
the public sees a team.

MEN AT «FLAGSTONE» SET (MEN 3)
457: I worked in the bank, in that one.

458: We were 6 or 7 from Calahorra,
working in groups,

459: and here we were…

460: for 3 or 4 months.

461: But it was well paid.

462: Well, they still owed us
14,000 pesetas.

MEN 2
463: That’s not so…
Men 3
464: Sure, they paid,
when they wanted.
MEN 2
465: But they paid, it was well paid.

Film artists and that, they paid.
MAN 3
466: I’m not on about the artists
but about the work.
MAN 2
467: The people, who told you to work,
were the film artists.

468: Leone and the artists,
or whatever they were.

469: But Sergio Leone paid.

CREDIT
470: A DAY WITH SERGIO
ELI WALLACH
I learned something in Spanish and I live by it

(IN SPANISH)
471: «If you get up early,

472: you have an hour more,

473: and you get ahead at work.»
And that’s the way I live.

DIEGO
474: I arrived at 7,
and the hotel receptionist asked me:

475: «Does he ever sleep?»

JUAN
476: He got into the car, and suddenly
you saw him with the script.
ANTONIO
477: He wanted clean horses,
correct saddles, perfect bandits.
CARDINALE
478: Before the shooting…

479: of a scene,

480: he listened to music
by Enio Morricone,

481: and then «bam».
JUAN
482: Repeating shots and music,
repeating shots and music.
PACO
483: He threw out material.
CURRO
484: He would do a shot
of a fly, for example,

485: take the gun
and catch the fly with it.
CARDINALE
486: He liked close-ups very much,

487: always the eyes.

DIEGO
488: He said: «If crew and actors sweat,
I sweat, too.»

489: «Everybody sweats.»
JUAN
490: In the summer, he really enjoyed
cold soup, #gazpacho.#

491: He wouldn’t miss it.

492: He had to have lots of #gazpacho.#
PACO
493: He directed the actors
like a football team.

494: He said:
«You over there, you here…»
JUAN
495: Tonino Delli Coli,

496: Bacciucchi, Leone,

496a: they would get so excited,

497: they just wanted…

498: to «kill each other».
ANTONIO
499: He said:
«Filio de la Mignote!»,

500: or «Damn you all!»,

501: but he’d always calm down.
CURRO
502: During shootings,

503: he did a gesture, and
we called him «the castanets».

504: For us, he was «the castanets».

ELI WALLACH
Very nervous, he would do this all the time… Or he’d take pieces of paper and tear them up. I thought «Why is he worry?»

JUAN
505: Even at ten in the evening,
the sun is out.

506: We weren’t particularly religious
but we’d look to the sky and pray…

507: that the sun would set.
We were exhausted.

ELI WALLACH
On Sunday they played soccer – the Spanish team against the Italian team and the Spaniards always won. I thought that was very funny – all week they were mistreated and the weekend they were the heroes.

JOSE
508: It’s all a film.

509: Everything on TV is a film.

510: People talking on TV is a film,

511: things on TV is a film.

512: Life is a film.

NODO (VOICE OFF)
513: #The head of state, general Franco,#

514: #is coming to Almería
to inaugurate the new airport.#

515: #It’s located 8 km. from town.#

516: #It has a 2400 meter long
and 45 meter wide runway,#

517: #allowing large planes,
such as the DC8, to land there.#

517a: THE PLAINS OF
LA CALAHORRA

517b: THE FILM LOCOMOTIVE

MAN ON LOCOMOTIVE
518: This lever was used
to change gears.

519: This way to go forward,

520: and the opposite movement
to go backwards.

521: They shovel the coal
into the fire…

522: and close the hatch.

523: Here you can look out
onto the track,

524: checking for obstacles
and the like.

525: You have to keep an eye
on the track and the stations.
MAN OUTSIDE (cleaning)
526: You have to be nasty,
you shouldn’t be good.
MAN 2 OUTSIDE (cleaning)
527: -What are you saying?
-That’s what Mr. Martin said:

528: «It looks bad
but I think it’s OK.»

529: You’re the boss here.

VOICE OVER BLACK
530: Move a bit over there…

531: -Ready?
-Move it up a bit…that’s fine.
TEXT
532: ONCE UPON A TIME
IN THE WEST, 1968

… VOICE OVER
533: «C’era una volta il west!»

VOZ NARRADOR PELÍCULA OFF
The railroad, the boom towns, a new life, and the promised land.
Once Upon a Time in the West
The widow, the landgrabber, the outlaw, the gunmen. The man in search of a name.
Once upon a time in the west
A film by Sergio Leone who gave a new face to the west with A Fist Full of Dollars, For a Few Dollars More and The Good, the Bad and the Ugly.
Once Upon A Time

TEXT
534: RANCH «LEONE»

CARDINALE (OVER)

535: #When I saw the house
for the first time…#

536: #it seemed a mystery
why this man was here.#

TEXT ON MAGAZINE
537: Cardinale has arrived!

PAVO (OVER)
538: Beautiful, beautiful…

539: Very elegant, and a lovely person.

540: Polite…and a good actress.

TEXT ON MAGAZINE
540a: CAMPAIGN
FOR CANCER RESEARCH

CARDINALE
541: With the music,

542: I wasn’t Claudia.
I was Jill,

543: the character, immediately.

544: Jill was a very strong woman.

546: A bitch, but very strong.
547: I really like
this woman’s character.

PACO
548: Where are you going, Claudia?

549: She said:
«To the set.»

550: I’ll take you there, if you want.

551: «Should I get on?»
I said: «Sure», happy as ever.

552: I took her arm and helped her up.
553: She said: «How nice!».

554: If you want, I can…

555: «No, no, I have to be on the set
in a minute.»

556: I left her there,

556a: where the guys
were doing the tracks,

557: trying…

558: to get an overview of
what they were doing.

559: It was great.

CARDINALE
560: It’s a scene,

561: a very important scene,
because Jill…

562: is…

563: alone.

564: The man…

565: comes over with his horse,

566: and she’s in the house.

567: But…

568: the strength…

569: is important.

570: Jill,

571: lives her life,

572: as a pioneer,

573: as a lady of the West,

574: leaves the house with some water,

575: laughing,

576: greeting all the train workers.

577: She is stunning, full of…

578: hope…

579: and energy.

580: That’s what women are made of:

581: Hope, energy and strength.

JUAN
582: He said:
«We’ll build the ranch here.»

583: Everybody looked at him and said:

584: «But, Sergio, the train…?»

585: «The train here, in front.»

586: «But there’s a 20 meter
high mountain here!»
DIEGO
587: We put down 1km of train track.
PACO
588: He said: «Here, the tracks,
we’ll get a railway…»

589: «Dig into the mountain,
bring the train,

590: and it all works out.»
PACO
591: Filming is impressive.
JUAN
592: They made the ranch there.

593: They dug, brought the train…
DIEGO
594: with some wagons and a machine…
PACO
595: in a trailer.

596: Everybody had to help out
to get it up there.

597: Pure pleasure!

598: Chinese people, black people…

599: people from all four continents.
JUAN

600: When we saw the locomotive
travelling through the desert,

601: through the mountain
we’d dug into,

602: whistling and steaming away,
well, that was…

603: that was movie magic.
Simply Movie Magic.
CARDINALE
604: Cause Sergio enjoyed filming.

605: He enjoyed the adventure, the dream,

606: and Sergio in Almería was a dream.
JOSE
607: I think that in Almería…
Everybody involved in filming,

608: or related jobs,

609: I think they will be fond of
this part of Almería,

610: because thousands of films
were made here.
PACo (OVER) NODO images
611: #By the late sixties,
there were 11 film sets…#

612: #simultaneously in Almería.#
OVER 2
613: #Sometimes up to
7 or 8 productions,#

614: #films crossing each other,#

615: #and the extras going
from one film to another.#
OVER 3
616: #He said: «Daddy,#

617: #give me the barrels
missing in my film.»#

618: #That’s how it was,#

619: #exchanging cars and all.
But we managed.#
OVER 4
620: #He said:
«Get over there»#

621: #We were shooting a western
but arrived looking like romans.#
OVER (carlo Leva)
622: #I remember the last films,
we did here,#

623: #hotels all around.#
624: #It was like Las Vegas
but in Spain.#
TEXT ON BLACK
625: He did 40 films
and was the driver for Gemma,

626: Welsh, Bronson, Heston…
and Sergio Leone.
CURRO (over)
627: I worked…I had a lorry,

628: which we used to transport water
for the horses.

629: When the Fernández family
extended the business,

630: I mean, Diego Senior,
Diego Junior and Juan,

631: they knew me,
and they asked me,

631a: if I wanted to work with them.

632: I just had to drive the actors
and the directors around.
… ON SCREEN
633: That’s when Juan Fernández said:

634: «You’re driving Leone around.»
TITTLE
635: DUCK YOU, SUCKER, 1971
CURRO (OVER)
636: Just taking the celebrity
that I was taking,

637: that was vital for me.

638: I remember it all: The first day,
I picked him up in Almería airport,

639: until I left him
in Barajas airport.

640: I remember every single day.
TITTLE
641: GIVE IN, DEVIL, 1971
…CURRO
642: One morning,

643: in a square in Guadix,

644: Leone said to me:

645: «I’ll give you the honour
of directing this shot.»

646: So I directed the shot.

647: There was a line…

648: of men, or extras,

649: and some execution material.

650: I said «motore»,

650a: and the camera started to roll.

651: «Action!»,

652: and after a certain time, I said:

653: «Cut!».

654: I imitated Sergio Leone:

655: -«How was it?»
-«It was fine. Another one.»

656: That was it.

CURRO (while drives)
657: We got on very well.

658: They asked if I wanted to come along
as their driver, and I agreed.

659: He said to me:

660: «Come along as a trusted man,
and my personal driver.»

661: On the set, the rumours spread,
and the Italians said:

662: «Hey, we’ll see you in Rome.»

663: Then my mother got very ill,

664: and I thought:

665: «I cannot leave,
what if she dies?»

666: So I stayed behind…

667: because that was my destiny,
so I stayed.

668: Sergio Leone took it
very badly, very badly.
JOSE
669: Films help us with one thing;

670: they animate us to live.

671: Then of course, you watch a film
that some people like…

672: Some people like war films,

673: others prefer love stories.

674: I really like love stories.

675: They win your heart,
that’s what happens, or?

676: I love them, they amuse me.

677: I forget all else.
That’s cinema.
DIEGO
678: Sergio was incredible.

679: His biggest dream…
He said: «I cannot die…

680: without having done a film
paid by the Americans,

681: so that they don’t talk badly about
the Spaghetti Western anymore».

682: He went with an almost
open-ended budget and did…

683: #America, America#.
ELI WALLACH
Once he asked me, he was coming to New York and was looking for locations for Once Upon a Time in America with de Niro. And I took him all over Brooklyn and showed him where the bridges are, the tunnels and all that. So he used that.

But I enjoyed each day with Leone and I thought Clint was very good, very smart. When he left he said, «I’m not gonna make any more these westerns. I’m going back to America. I’m going to have my own company and make my movies.» And the last western he made was called The Unforgiven and he dedicated it to two people, Sergio Leone and a man named Don Siegel.

LEONE (OVER)
684: What I have liked
about this story has been…

685: making a film about…

686: a humble #Mr. Nobody#.

687: A poor gangster,
who knows that he is nobody,

688: and who travels through America
without anybody noticing his name,

689: but who, in the end,
at least lives his own life.

690: Like the American way.

691: -You are from…
-Belgium.

CURRO (over red skies)
692: It heard it on TV,
and I felt, I felt so…

693: Filming is very stressing…

694: of course, the stress…

695: implies a certain risk.

696: It was his turn, or?
CARDINALE
697: It was terrible,

698: he died in an instant.

699: Carla, Sergio’s wife,
was in the room,

700: and Sergio said:
«I don’t feel so well.»

701: Then he died,
it went very fast.

702: I remember that…

703: the funeral…

704: took place in Rome.
705: The music was by…

706: Morricone.

707: All the people, the actors…

708: it was very…

709: it was very emotional…

710: because Sergio was a good friend,

711: an extraordinary person,
a film lover.

712: It was a great loss.
TEXT
713: Mrs Carla Leone.

714: Almería, December 2000.
PEPE (over street)
715: #It’s been signed by both.#

… ON SCREEN
716: You can’t read it very well,
but it’s signed by both:

716a: Van Cleef and Joana.

717: And they…

718: Both of them went…

719: every day for a bit,

720: and it was a surprise,
when they finished it.

721: They gave it to me;
they wrapped it up,

722: and they gave it to me.
ON THE PICTURE
722a: Mr and Mrs Van Cleef
PACO (in the gym)
722a: Champion!

722b: Hit it!

722c: Come on!
… PACO (TO CAMERA)
723: Look,

724: the birdies singing,

725: and the clouds passing by.
VOICE OFF (at the garden)
726: Laura, what are you doing?
… JUAN
727: What are you doing?

728: Help me pick some olives.
GIRL (over)
729: #I want to swing.#
JUAN (over)
730: #We can’t swing now.
We’re going to grandma’s to eat.#
MAN 1 at «flagstone set»
731: With this wind…

732: they want to build…

733: There is going to be…

734: a wind power station here.

735: Put up 520 generators…

736: in several stations,
divided into zones.

737: Let’s see when that happens.
MAN 4 at FLAGSTONE SET
738: So if anybody ever dared
to set up the town here,

739: that would be extraordinary.
MAN 2
740: Yes, but let’s see
who is coming now,

741: maybe some foreign company.

742: They could set up it up now,
but in a different way.
FOUR TOGETHER AT FLAGSTONE
743: -This time seriously.
-Sure.

744: DESERT OF TABERNAS
ANTONIO PLAZA
745: I think the films went
to south Italy,

746: which was very similar…

747: to our terrain,
but much cheaper.
PACO
748: That was a world crisis.
JUAN
749: Until a certain point,
it’s not a crisis.

750: The westerns were dying,

751: because they were turning
into mass production.

752: I like French fries and eggs,

753: now and again,

754: but I get tired
of eating it every day.
ANTONIO RUIZ
755: My personal opinion,
although not important,

756: and I don’t care
whom it affects,

757: we didn’t do the things well here.
DIEGO
758: Films went abroad for 2 or 3 months,
as there were no studios.
CURRO
759: A lot of interests
were created in Madrid.

760: Madrid wouldn’t allow Almería
to have studios,

761: where you can film indoors.
DIEGO
762: 30 years ago, there weren’t
any support from the state.

763: I don’t know why,
there are no answers.

764: But there was no support.
PACO
765: Always the same; time passes;
they’ve put up studios for 25 years.
ANTONIO PLAZA
766: The prices went up like crazy;

767: the hotels, the locations.
PEPE FIGUEREDO
768: The really abused…

769: the goose laying the golden eggs.
ANTONIO RUIZ
770: If Bill this, if Bob that,

771: if they don’t work together,

772: this industry will always
have serious problems.
PACO
773: We’re still an unpolished diamond.

774: Almería is a land of many shades,

775: and you must cherish this diamond…

776: to make it filter the light,
reflecting…

777: a rainbow.
TEXT AT «FLAGSTONE» abandoned set.
777a: «BANK OF PHOENIX»