Clint Eastwood on “For a Few Dollars More”
On August 6, 2003, Clint Eastwood sat down for an interview on his work with director Sergio Leone. On the video below, Clint Eastwood talked about his work on the movie “For a Few Dollars More” (1965). If you want some ideas for a great looking clint eastwood man with no name/blondie costume, then you should consider reading this article – diy clint eastwood costume.
transcript for the video:
Clint Eastwood: A fistful of dollars was the first big-screen protagonist I played. I had total freedom and the character because we didn’t even speak the same language and it was Sergio’s second picture. He had done one picture called Colossus of Rhodes prior to that and he’d never done a picture before that except been assistant director and then it was Marconi. I don’t know if this is very first score but it was certainly one that put him on the map and so we all kind of jumped out and had decent careers based upon that picture. After the first one took off and did so well then the second one I thought would do well. I think I was one of the people who inspired him to do a sequel originally Sergio wanted to have Henry Fonda and Lee Van Cleef sparked because he felt that I had a similarity to Fonda that would have been a sort of a father-son mentor kind of situation he couldn’t get Henry Fonda at that time he couldn’t get anybody nobody knew Sergio and the the dollar pictures hadn’t come out and been as effective as they were too much later than that so he goes to California and he comes back we’ll leave and cleave has le van cleef that’s an interesting it always had a great face and I used to see him around at Universal years ago he was sort of a well-known character actor worked quite a bit nice guy he came over there and to the part I thought it was interesting you sérgio one good thing he had he was great with faces if you notice those films all those faces those gypsies he would use to play the mexican guys in this pictures he always got really good faces he was very very detail-oriented when it came to Casting he didn’t just say I get me four or five people to be in the background here every one of them had to have a different look I want the room right above I’m sorry it’s occupied too bad the hotel’s filled to capacity it’s free now he loved life though he was a very humorous guy and I was told that before I ever worked with him they said he was a man of a great sense of humor he loved to tell jokes he was very very funny he loved to laugh love to eat the first week I went over there on personal dollars the first day of work we broke for lunch and all of a sudden instead of breaking for lunch for like a for a half-hour like you would in this country or an hour an hour at the most we sat down for a two hour lunch and everybody’s drinking wine and eating spaghetti and everything at the offices this is really something the only problem was after you get back from lunch that that next couple hours of work is just in slow motion it’s almost in slow motion everything is very very hard to get back up to speed so you sort of write off those two hours and then you get into later on in the day you sort of get back cooking again I learned a lot just watching other people work you just sort of see things that you like you would say if I’m ever directing this is what I this is kind of thing I like and and you also conversely you see things that you you don’t like you say gee if I’m ever driving I won’t do that sérgio it was very very conscious of art I know he did like painting you’d see a certain painting and he said that’s the lighting like for the sequence and that sequence sometimes he’d show me a picture and say this is the kind of thing I’d like to duplicate here Sergio loved long pictures he loved long sequences and long pictures but if you’re just telling a long picture to produce more production value I think you can shorten some of that down if you have a really deputy story and you need to have that time and that’s fine that’s where he and I would differ I suppose but he was a guy who was trying to become much more of a big production type director he wanted to be David Lean I on the other hand was trying to go for a smaller picture I just want to do smaller character-driven things because selfishly I was coming from the actors point of view at that particular time when we were doing good bad and ugly Sergio talked about billing once upon time in the West I just thought I’d done enough for that style I just didn’t want to repeat myself too many times I thought it was time to come back here in this country and work on some other type projects I don’t know why I have no it great intellectual struck strategy there was just it just felt that it was timing him back you you
