1
00:01:48,801 --> 00:01:51,840
He's a very enigmatic character,
even if he doesn't seem like it.
2
00:02:03,160 --> 00:02:05,280
Serious. Very serious.
3
00:02:05,800 --> 00:02:07,760
Always very...
4
00:02:08,521 --> 00:02:09,600
very absorbed.
5
00:02:13,081 --> 00:02:16,800
He's got this amazing quality
of always being himself,
6
00:02:16,921 --> 00:02:20,640
but, at the same time,
always being someone else.
7
00:02:25,801 --> 00:02:27,759
We're talking about a genius.
8
00:02:31,041 --> 00:02:34,599
Ennio Morricone is the great exception
to all the rules.
9
00:02:49,161 --> 00:02:52,400
He has a great talent,
very well hidden,
10
00:02:52,521 --> 00:02:54,560
which erupts every time he writes.
11
00:03:06,081 --> 00:03:08,760
I've never seen a marvel
like Ennio Morricone.
12
00:03:10,681 --> 00:03:16,080
We’re witnessing, to put it cautiously,
a draft of a guaranteed masterpiece.
13
00:03:24,640 --> 00:03:26,199
Well, he is a legend...
14
00:03:26,401 --> 00:03:29,520
working with Ennio Morricone
was like getting a medal.
15
00:03:41,841 --> 00:03:44,000
A very peculiar man.
16
00:03:44,920 --> 00:03:46,280
He was crazy.
17
00:03:47,200 --> 00:03:48,039
That's for sure.
18
00:03:54,961 --> 00:03:59,280
Ennio's world has not been
totally discovered yet.
19
00:05:48,681 --> 00:05:52,080
I never thought
that music would be my destiny.
20
00:05:52,401 --> 00:05:55,599
I wanted to be a doctor.
21
00:05:55,681 --> 00:05:59,000
My father said:
"No, he will study the trumpet".
22
00:05:59,361 --> 00:06:01,520
He sent me to the conservatory
to study the trumpet.
23
00:06:01,600 --> 00:06:02,840
That's how it went.
24
00:06:02,920 --> 00:06:05,799
It was my dad who decided
I was going to be a trumpet player.
25
00:06:05,881 --> 00:06:07,719
I didn't decide anything.
26
00:06:11,601 --> 00:06:14,319
As you can see,
I was just a kid.
27
00:06:16,441 --> 00:06:19,400
I was very weak at solfege.
In the first quarter, I got a 3 out of 10.
28
00:06:19,480 --> 00:06:22,359
My father became very strict.
29
00:06:22,480 --> 00:06:25,640
During holidays, I wasn't allowed
to play any bingo or card games...
30
00:06:27,081 --> 00:06:29,439
And then I improved.
31
00:06:41,041 --> 00:06:44,040
I was six years old
when my father taught me the treble clef,
32
00:06:44,121 --> 00:06:47,319
and explained to me
the position of the notes on the staff.
33
00:06:47,641 --> 00:06:49,599
His father played the trumpet
34
00:06:49,720 --> 00:06:51,240
in a regimental band.
35
00:06:51,400 --> 00:06:54,120
He played in cinemas
where they did variety shows.
36
00:06:54,961 --> 00:06:57,399
There was a record player in my house.
37
00:06:57,681 --> 00:07:01,400
And, since I used to listen
to "Il Franco Cacciatore",
38
00:07:01,681 --> 00:07:04,440
I wrote music for hunting,
for two horns...
39
00:07:10,441 --> 00:07:12,320
That kind of useless stuff.
40
00:07:12,400 --> 00:07:15,279
When I was ten,
I tore it all up.
41
00:07:15,880 --> 00:07:18,120
I started studying the trumpet
when I was 11.
42
00:07:18,441 --> 00:07:19,920
I got my diploma at 16.
43
00:07:20,080 --> 00:07:22,280
My father used to tell me
that there was a boy,
44
00:07:22,480 --> 00:07:24,519
the son of the trumpeter,
45
00:07:24,601 --> 00:07:28,160
he would go to the pit
with his music manuscript,
46
00:07:28,321 --> 00:07:29,400
and fall asleep.
47
00:07:29,601 --> 00:07:31,080
He played the trumpet,
48
00:07:31,161 --> 00:07:35,240
and would often fall asleep
when he was not playing.
49
00:07:35,841 --> 00:07:39,159
Mario Riva was the presenter
at the Casina delle Rose.
50
00:07:39,241 --> 00:07:42,000
Ennio Morricone's father was there
and they played together.
51
00:07:42,121 --> 00:07:44,160
An extraordinary trumpet player,
52
00:07:44,281 --> 00:07:45,480
but my father was very strict.
53
00:07:45,640 --> 00:07:47,559
He was very careful with his spending.
54
00:07:47,761 --> 00:07:49,599
He had the same trumpet his whole life.
55
00:07:49,720 --> 00:07:52,280
When his dad gives him the trumpet
and says:
56
00:07:52,521 --> 00:07:57,399
"This instrument allows me to feed you,
you'll do the same for your family",
57
00:07:57,681 --> 00:07:58,440
that was it.
58
00:07:58,600 --> 00:08:00,279
He bought me a second-hand trumpet.
59
00:08:00,361 --> 00:08:04,280
It was cheaper and he bought
whatever saved him money.
60
00:08:05,281 --> 00:08:07,719
He's a musician
and couldn't be anything else.
61
00:08:09,400 --> 00:08:12,639
I remember that
when the Germans were here,
62
00:08:12,721 --> 00:08:14,079
and then the Americans,
63
00:08:14,281 --> 00:08:17,438
I went from one hotel to another
with a small orchestra.
64
00:08:17,721 --> 00:08:20,240
They only gave us food for playing,
they didn't even pay us.
65
00:08:20,439 --> 00:08:25,400
Some of my colleagues
used to put a small plate on the drums
66
00:08:25,479 --> 00:08:27,200
for soldiers to make a donation.
67
00:08:27,640 --> 00:08:30,519
The family only lived on the father’s trade.
68
00:08:30,921 --> 00:08:35,600
There was a time when is father became
ill, and Ennio, a boy, had to replace him
69
00:08:35,800 --> 00:08:39,039
in nightclubs
and in entertainment orchestras.
70
00:08:39,441 --> 00:08:43,640
Playing the trumpet to earn enough to eat
71
00:08:44,121 --> 00:08:47,000
was a terrible humiliation.
72
00:08:47,080 --> 00:08:48,120
And this...
73
00:08:50,041 --> 00:08:52,040
I felt this humiliation.
74
00:08:53,800 --> 00:08:55,560
So, I stopped loving the trumpet.
75
00:09:00,241 --> 00:09:03,840
I took my father's place,
and I played until 2, 3 a.m.
76
00:09:04,120 --> 00:09:07,239
I used to get up early in the morning
to go the conservatory,
77
00:09:07,321 --> 00:09:08,799
and then I had to do my homework.
78
00:09:08,881 --> 00:09:12,480
I showed up with a split lip
to the trumpet exam,
79
00:09:12,561 --> 00:09:14,600
I was... tired.
80
00:09:14,761 --> 00:09:16,400
My exam was...
81
00:09:17,721 --> 00:09:18,519
Nothing special.
82
00:09:19,000 --> 00:09:20,439
I got a 7.5.
83
00:09:22,881 --> 00:09:25,839
was also studying complementary harmony.
84
00:09:25,960 --> 00:09:30,200
I didn't stick to the rules,
I enriched them, I made them flourish.
85
00:09:30,520 --> 00:09:33,960
And Roberto Caggiano, my teacher,
at the end of the course, told me:
86
00:09:34,081 --> 00:09:35,960
"Now you must study composition".
87
00:09:36,520 --> 00:09:38,840
And I listened to Caggiano.
88
00:09:49,761 --> 00:09:50,799
These...
89
00:09:51,280 --> 00:09:56,120
Goffredo Petrassi, was one of the greatest
composers of classical music of 1900.
90
00:09:56,200 --> 00:09:59,040
And he was, for me, an amazing teacher.
91
00:10:00,640 --> 00:10:02,360
When I was in my seventh year,
92
00:10:02,440 --> 00:10:05,439
I had to take a class
in advanced composition,
93
00:10:05,521 --> 00:10:07,920
there were two distinguished teachers.
94
00:10:08,161 --> 00:10:10,239
Petrassi was one of them.
95
00:10:10,321 --> 00:10:13,640
Music is an intellectual matter.
96
00:10:13,720 --> 00:10:17,000
I studied his scores, which liked,
97
00:10:17,161 --> 00:10:18,680
the way they were written.
98
00:10:18,760 --> 00:10:21,320
The handwriting,
the beauty of the handwriting.
99
00:10:21,561 --> 00:10:23,799
Every unison was not in unison,
100
00:10:24,201 --> 00:10:26,400
because he added something to it.
101
00:10:26,521 --> 00:10:28,839
Those scores were a school themselves.
102
00:10:29,001 --> 00:10:32,120
I chose him, I chose Petrassi.
103
00:10:32,241 --> 00:10:35,880
Morricone has always made it clear,
104
00:10:36,081 --> 00:10:38,040
he had chosen Petrassi as his teacher.
105
00:10:38,361 --> 00:10:40,359
The secretary told me:
106
00:10:40,480 --> 00:10:43,839
"Maestro, it's not possible.
Petrassi's class is full of students".
107
00:10:44,080 --> 00:10:48,440
"If you don't send me to Petrassi,
I will quit this conservatory."
108
00:10:48,721 --> 00:10:52,719
What you want to do is search
for that composer's techniques
109
00:10:52,801 --> 00:10:53,840
and make them your own.
110
00:10:54,081 --> 00:10:55,880
was very shy, at first,
111
00:10:55,960 --> 00:10:58,839
because everyone in that class was good.
112
00:10:58,921 --> 00:11:01,320
Extraordinary composers.
113
00:11:01,521 --> 00:11:04,359
Ennio Morricone's origins
were much more humble
114
00:11:04,561 --> 00:11:06,080
compared to his peers.
115
00:11:06,280 --> 00:11:08,319
The conservatory was for the elite.
116
00:11:08,401 --> 00:11:11,360
In front of those giants,
I was so small.
117
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I felt almost, almost humiliated.
118
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He felt a bit inferior.
119
00:11:18,441 --> 00:11:21,840
It was unusual for a trumpet player
to study composition.
120
00:11:21,921 --> 00:11:24,999
So, Ennio Morricone was,
in my opinion, discriminated against.
121
00:11:25,321 --> 00:11:30,000
The first thing that Petrassi asked me
to do, for a few months, was dances.
122
00:11:30,361 --> 00:11:31,560
The tarantella.
123
00:11:32,641 --> 00:11:33,800
The bourree.
124
00:11:34,600 --> 00:11:35,640
The jig.
125
00:11:36,040 --> 00:11:37,239
The boogie-woogie.
126
00:11:37,561 --> 00:11:38,799
The samba.
127
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I was not happy.
128
00:11:40,480 --> 00:11:43,880
He didn't give me any indication
of his satisfaction.
129
00:11:44,241 --> 00:11:46,280
At beginning I've always had
the impression
130
00:11:46,561 --> 00:11:50,240
that even Petrassi
underestimated Ennio a bit,
131
00:11:50,641 --> 00:11:55,280
that he was not interested enough
in this person.
132
00:11:55,600 --> 00:11:58,160
Finally, once I was done with the dances,
133
00:11:58,240 --> 00:12:00,080
he explained the Ricercare to me.
134
00:12:00,160 --> 00:12:03,039
And he commissioned me a Ricercare.
135
00:12:05,001 --> 00:12:11,400
That was when I stopped making mistakes.
136
00:12:12,361 --> 00:12:16,239
He gave me great satisfaction,
as my teacher.
137
00:12:18,040 --> 00:12:20,760
It was a counterpoint,
in four parts, five parts,
138
00:12:21,040 --> 00:12:24,039
it was very interesting,
the form that preceded the Fugue,
139
00:12:24,321 --> 00:12:26,679
of which Frescobaldi was the leader.
140
00:12:27,481 --> 00:12:29,400
A century before Bach,
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00:12:29,481 --> 00:12:33,960
he made hints of counterpoint,
of two melodies together.
142
00:12:36,801 --> 00:12:38,760
Those famous ten years with Petrassi
143
00:12:39,640 --> 00:12:41,919
are those in which Ennio fed
on bread and Palestrina.
144
00:12:42,241 --> 00:12:43,520
Bread and Monteverdi,
145
00:12:43,600 --> 00:12:47,400
therefore he knows counterpoint
like nobody else in the world.
146
00:12:49,081 --> 00:12:52,119
Petrassi was so influenced by Stravinsky
147
00:12:52,201 --> 00:12:56,079
that he passed on this passion
to Morricone.
148
00:13:02,721 --> 00:13:06,639
I listened to one of Stravinsky’s
most sublime pieces.
149
00:13:07,081 --> 00:13:08,679
"Symphony of Psalms".
150
00:13:16,960 --> 00:13:20,720
I heard it conducted by Stravinsky,
when I was very young.
151
00:13:20,800 --> 00:13:23,400
At Santa Cecilia. It was a rehearsal.
152
00:13:24,081 --> 00:13:26,720
The door was open, just a crack,
153
00:13:26,800 --> 00:13:28,520
and the orchestra was playing there.
154
00:13:30,321 --> 00:13:31,160
And I...
155
00:13:36,961 --> 00:13:39,440
I have always been
impressed by that piece.
156
00:13:47,800 --> 00:13:51,360
When I was studying composition,
I didn't show anything to my father.
157
00:13:51,640 --> 00:13:54,159
I stayed in my room, and I wrote,
158
00:13:54,400 --> 00:13:56,000
I wrote and wrote.
159
00:13:56,241 --> 00:13:58,880
He was a very attentive
and smart student.
160
00:13:59,080 --> 00:14:03,120
I was happy and also optimistic
about his future.
161
00:14:03,361 --> 00:14:05,360
But I was studying,
and I was working.
162
00:14:05,601 --> 00:14:07,680
He played the trumpet at the Sistina.
163
00:14:07,840 --> 00:14:11,400
I was the first trumpet added.
I played in all the revues.
164
00:14:11,481 --> 00:14:14,000
Walter Chiari, Tognazzi,
Rascel, all the comedians.
165
00:14:14,080 --> 00:14:17,439
Dapporto, Wanda Osiris, Macario, Toto...
166
00:14:18,001 --> 00:14:22,839
Something beautiful was
the last walkway of the dancers.
167
00:14:23,361 --> 00:14:25,959
I complimented them as they walked over.
168
00:14:26,841 --> 00:14:30,720
I looked at them and named
all the titles of the American songs
169
00:14:30,921 --> 00:14:32,439
I had played in the past.
170
00:14:32,961 --> 00:14:33,879
"My Dream."
171
00:14:35,560 --> 00:14:37,320
And they would smile at me.
172
00:14:37,521 --> 00:14:39,720
But when the show ended,
I could not miss my trolley bus,
173
00:14:39,880 --> 00:14:42,840
so I put away the trumpet
and made a mad dash home.
174
00:14:43,041 --> 00:14:44,120
Music, maestro!
175
00:14:46,000 --> 00:14:48,480
I used to write arrangements on the sly.
176
00:14:48,561 --> 00:14:49,920
Petrassi didn't know.
177
00:14:50,121 --> 00:14:51,399
He found out later.
178
00:14:51,681 --> 00:14:54,120
The first one who called me
was Carlo Savina.
179
00:14:54,361 --> 00:14:56,880
Savina once complained
180
00:14:56,961 --> 00:14:59,360
about an arrangement, in a striking way.
181
00:14:59,440 --> 00:15:02,160
He threw the music sheets.
182
00:15:02,241 --> 00:15:04,880
Sometimes, I did some experiments.
183
00:15:04,960 --> 00:15:07,239
Savina would call me angrily,
and would tell me:
184
00:15:07,321 --> 00:15:08,600
"The sharp was missing,
185
00:15:08,680 --> 00:15:09,560
the flat was missing,
186
00:15:09,640 --> 00:15:11,640
what’s that note, it's not clear..."
187
00:15:11,800 --> 00:15:16,080
savina was tied to a somewhat old concept.
188
00:15:16,161 --> 00:15:19,560
Whereas Morricone's arrangements
were extremely modern.
189
00:15:21,040 --> 00:15:22,400
One, two, three.
190
00:15:24,441 --> 00:15:29,600
My first film experiences were
in film orchestras, playing the trumpet.
191
00:15:38,121 --> 00:15:42,039
I played in some beautiful performances
with Lavagnino,
192
00:15:42,121 --> 00:15:44,919
Franco D'Achiardi, Enzo Masetti.
193
00:15:47,721 --> 00:15:53,360
One soundtrack in which I played
was "Fabiola" by Alessandro Blasetti.
194
00:16:00,961 --> 00:16:05,040
For the final exam in composition
we had to write an opera scene.
195
00:16:05,121 --> 00:16:07,119
I did a double Fugue.
196
00:16:07,281 --> 00:16:09,279
Two subjects and two countersubjects,
197
00:16:09,441 --> 00:16:12,879
about Glaucus, who was in a stormy sea
and about to land,
198
00:16:16,041 --> 00:16:22,040
And what I wanted to create was
something twisted, yet so elegant,
199
00:16:22,281 --> 00:16:25,400
so sinuous, so sensual.
200
00:16:25,480 --> 00:16:29,000
I wanted to make all this...
but I couldn't do it.
201
00:16:31,320 --> 00:16:34,559
The committee, included Guido Guerrini,
the conservatory’s director,
202
00:16:36,921 --> 00:16:39,200
Goffredo Petrassi and Virgilio Mortari.
203
00:16:39,441 --> 00:16:41,079
Quite opposite personalities.
204
00:16:41,241 --> 00:16:43,839
Guerrini couldn't understand
Petrassi's music.
205
00:16:43,920 --> 00:16:45,800
There was a sort of rivalry.
206
00:16:46,041 --> 00:16:48,279
So he asked me a trick question:
207
00:16:48,520 --> 00:16:52,400
"Why did you divide
a double bass pizzicato
208
00:16:52,600 --> 00:16:56,480
where you put the open string
with the upper octave?"
209
00:16:57,361 --> 00:17:00,480
"Why did you do that?"
Petrassi didn't let me answer.
210
00:17:00,841 --> 00:17:02,600
He attacked the director:
211
00:17:02,961 --> 00:17:04,520
"What kind of question is that?"
212
00:17:04,720 --> 00:17:06,279
Petrassi got angry, yes.
213
00:17:06,520 --> 00:17:07,839
I got a 9 and a half.
214
00:17:09,001 --> 00:17:12,240
I remember it well because I got a 9,
215
00:17:12,361 --> 00:17:15,200
and I was very envious
of that 9 and a half.
216
00:17:15,441 --> 00:17:17,199
I walked out of the conservatory,
217
00:17:17,281 --> 00:17:20,480
And as always, I accompanied Petrassi
218
00:17:20,721 --> 00:17:23,199
to 181 Germanico Street, his home.
219
00:17:23,800 --> 00:17:25,920
That time...
220
00:17:33,481 --> 00:17:35,439
we both got emotional.
221
00:17:41,361 --> 00:17:43,400
He was crying, and so was I.
222
00:17:45,880 --> 00:17:50,799
H promised me
he would find me a job.
223
00:17:51,040 --> 00:17:53,600
He meant as a teacher at the conservatory.
224
00:17:53,841 --> 00:17:55,239
But nothing happened.
225
00:17:58,480 --> 00:18:02,079
"When I went into the military service,
the put me in the band right away.
226
00:18:02,161 --> 00:18:06,200
The colonel commissioned me
band orchestrations.
227
00:18:06,721 --> 00:18:08,160
We played in the streets.
228
00:18:11,401 --> 00:18:14,960
My girlfriend, Maria, would follow me.
229
00:18:15,121 --> 00:18:16,760
Running.
230
00:18:17,041 --> 00:18:18,759
She was so cute.
231
00:18:23,241 --> 00:18:27,879
He married Maria
who was exemplary among us.
232
00:18:28,161 --> 00:18:29,840
because she was just like her husband.
233
00:18:30,081 --> 00:18:32,000
She was a calm woman.
234
00:18:32,161 --> 00:18:33,759
Always smiling
We used to call her the Madonna
235
00:18:33,760 --> 00:18:35,960
Always smiling.
We used to call her the Madonna.
236
00:18:36,441 --> 00:18:38,160
When I finished the conservatory,
237
00:18:38,241 --> 00:18:43,640
I was like a naked composer
facing the world around him.
238
00:18:44,001 --> 00:18:47,600
I wanted to protect myself
from this loneliness.
239
00:18:47,920 --> 00:18:50,480
So I wrote
my first concerto for orchestra,
240
00:18:51,520 --> 00:18:55,920
When it came to my musical choices,
my mother used say:
241
00:18:56,241 --> 00:18:59,679
"Please, Ennio, write me a nice melody,
242
00:19:00,241 --> 00:19:01,920
a beautiful song".
243
00:19:02,001 --> 00:19:02,400
She pestered me saying:
"Write a nice song.
244
00:19:02,401 --> 00:19:05,319
She pestered me, saying:
"Write a nice song.
245
00:19:05,601 --> 00:19:07,839
You always must make a nice melody
246
00:19:08,041 --> 00:19:09,519
That’s how you will become famous".
247
00:19:19,600 --> 00:19:23,079
I could hear him playing
from morning until night.
248
00:19:23,481 --> 00:19:26,840
At that time, he wasn’t composing
music for films yet.
249
00:19:27,040 --> 00:19:28,160
He was very poor.
250
00:19:28,360 --> 00:19:32,199
Maria worked
for the Christian Democracy party,
251
00:19:32,680 --> 00:19:36,999
and without telling me,
she got me hired at RAI.
252
00:19:37,281 --> 00:19:40,839
On my first day, the director
of the center on Via Teulada called me.
253
00:19:41,200 --> 00:19:47,160
He said: ''Maestro, I must warn you
that you won't have a career here.
254
00:19:47,361 --> 00:19:51,320
Also, as a composer,
you cannot be performed at RAI''.
255
00:19:51,841 --> 00:19:54,240
"What am I doing here?"
And I immediately quit the job.
256
00:19:58,281 --> 00:20:01,080
Thanks to Petrassi I went to Darmstadt,
257
00:20:01,401 --> 00:20:03,039
to the contemporary music festival.
258
00:20:03,400 --> 00:20:06,480
It was a time of confusion
for contemporary music.
259
00:20:11,841 --> 00:20:16,119
John Cage came to Darmstadt
to critique it.
260
00:20:16,201 --> 00:20:19,359
He did a concert
playing just two notes on the piano,
261
00:20:19,441 --> 00:20:21,480
he turned the radio on, and then off,
262
00:20:21,601 --> 00:20:23,280
he made a bang, turned some pages...
263
00:20:34,321 --> 00:20:36,159
I had the idea,
264
00:20:36,280 --> 00:20:39,080
surrounded by colleagues,
which were all composition graduates,
265
00:20:39,201 --> 00:20:44,240
Franco Evangelisti, Boris Porena,
Aldo Clementi, Egisto Macchi, and others.
266
00:20:44,481 --> 00:20:47,160
I told them, you'll make a sort of...
267
00:20:47,401 --> 00:20:50,919
a grunt.
You make a laryngeal sound.
268
00:20:51,561 --> 00:20:53,480
And then I conducted this...
269
00:21:00,121 --> 00:21:03,080
At that moment, the Nuova Consonanza
Improvisation Group was born.
270
00:21:07,441 --> 00:21:09,360
It was a breakthrough group.
271
00:21:09,441 --> 00:21:13,959
They didn't use the traditional techniques
of sound emission.
272
00:21:14,041 --> 00:21:17,640
Those techniques were always extreme.
273
00:21:17,920 --> 00:21:22,160
we wanted to make traumatic sounds.
That's what we called them.
274
00:21:25,641 --> 00:21:28,200
You weren't supposed
to recognise the trumpet.
275
00:21:28,281 --> 00:21:29,880
I played it in different ways,
276
00:21:30,081 --> 00:21:33,800
putting a hand in front of the bell,
pushing the pistons in halfway,
277
00:21:33,880 --> 00:21:36,600
so it came out
like a strange mewing sound.
278
00:21:36,681 --> 00:21:37,760
It was also awful!
279
00:21:40,401 --> 00:21:42,840
Basically, a different way
of making music.
280
00:21:53,920 --> 00:21:56,439
They worked with sound,
281
00:21:56,521 --> 00:21:58,680
rather than melodies.
282
00:21:58,801 --> 00:22:00,999
In fact, melodies were almost banned.
283
00:22:01,081 --> 00:22:03,960
Ennio worked with melody every day.
284
00:22:04,081 --> 00:22:09,080
It seems like a conflict, a cinematic stunt.
285
00:22:13,641 --> 00:22:16,520
I used to do all the arrangements
for the Quartetto Cetra.
286
00:22:16,600 --> 00:22:18,200
They would choose the songs.
287
00:22:18,280 --> 00:22:20,480
They used to give me a kind of notebook
288
00:22:20,641 --> 00:22:23,319
and I had to instrument
that notebook for the orchestra.
289
00:22:27,801 --> 00:22:31,320
They chose songs that people knew,
290
00:22:31,521 --> 00:22:34,239
but they used different words.
291
00:22:44,920 --> 00:22:47,160
In each episode,
there were many songs,
292
00:22:47,241 --> 00:22:49,839
but they only gave me the notebook
the day before airing,
293
00:22:49,921 --> 00:22:51,920
and the next morning, we recorded.
294
00:22:52,240 --> 00:22:54,840
So I used to spend the nights writing.
295
00:23:03,880 --> 00:23:07,880
He would be what they called
"the slave" in musical slang,
296
00:23:08,041 --> 00:23:10,239
which meant doing arrangements for others.
297
00:23:10,360 --> 00:23:15,000
But his name would never appear.
For television or film music.
298
00:23:15,241 --> 00:23:18,200
One of the first was Cicognini,
299
00:23:18,280 --> 00:23:21,999
a great composer who was making
a film directed by De Sica.
300
00:23:29,361 --> 00:23:33,080
I arranged and conducted
this song and this chorus.
301
00:23:35,841 --> 00:23:37,160
The Maestro Ennio Morricone.
302
00:23:37,401 --> 00:23:40,920
One day a baritone arrived at RCA.
303
00:23:41,041 --> 00:23:43,560
He sang songs from the '30s.
304
00:23:43,681 --> 00:23:45,800
And I heard some amazing arrangements.
305
00:23:45,880 --> 00:23:48,440
Maestro Morricone, famous arranger.
306
00:23:49,321 --> 00:23:51,320
And the name Ennio Morricone came up.
307
00:23:51,681 --> 00:23:55,200
I was called in to save RCA
which was going bankrupt.
308
00:23:55,840 --> 00:23:57,399
With "Il Barattolo", it was saved.
309
00:24:02,041 --> 00:24:04,680
There was this sound
which is the sound of a can.
310
00:24:09,201 --> 00:24:10,959
Everything sounded very '60s.
311
00:24:11,041 --> 00:24:14,760
But the can is a foreign element
that has nothing to do with the context.
312
00:24:14,841 --> 00:24:17,520
The information is a shock
to the listener of the song.
313
00:24:26,761 --> 00:24:28,359
Meccia, the singer, was almost scared,
314
00:24:28,561 --> 00:24:31,520
but Ennio was already someone
who looked around for cans,
315
00:24:31,641 --> 00:24:32,840
rolling them around.
316
00:24:35,641 --> 00:24:37,680
People were used to melodic music,
317
00:24:37,761 --> 00:24:40,280
Italian music was very melodic
up until then,
318
00:24:40,480 --> 00:24:42,519
so these noises were a novelty.
319
00:24:47,800 --> 00:24:52,560
You used a typewriter
as a musical instrument.
320
00:24:52,761 --> 00:24:56,400
Yes, exactly. A proper, written part,
played by a real performer.
321
00:25:01,681 --> 00:25:04,400
For "Pinne, Fucile ed Occhiali", we used tubs
322
00:25:04,561 --> 00:25:07,920
with water to create the splash effect
323
00:25:08,200 --> 00:25:10,400
which didn't come out how Ennio wanted it.
324
00:25:10,480 --> 00:25:14,000
we tried putting detergent in it,
putting covers over it,
325
00:25:14,080 --> 00:25:16,080
because he wanted a dive
that sounded like...
326
00:25:16,360 --> 00:25:17,439
A water sound.
327
00:25:21,561 --> 00:25:23,559
Each song had a stroke of genius.
328
00:25:25,521 --> 00:25:30,800
He blended trumpets with female voices
and trombones with male voices.
329
00:25:30,961 --> 00:25:33,200
A totally new sound.
330
00:25:34,681 --> 00:25:36,360
He revolutionized RCA.
331
00:25:36,520 --> 00:25:40,119
The arrangers back then were so boring.
332
00:25:42,160 --> 00:25:46,479
The arrangers at RCA were
Morricone and Bacalov.
333
00:25:49,081 --> 00:25:50,919
I requested Morricone
because I thought he was more brilliant.
334
00:25:51,201 --> 00:25:52,200
I wasn’t wrong.
335
00:26:10,480 --> 00:26:12,279
These things here, very simple,
336
00:26:12,520 --> 00:26:14,240
were very successful.
337
00:26:15,801 --> 00:26:17,520
Then I added some piano.
338
00:26:26,121 --> 00:26:28,320
The dignity of the composer,
339
00:26:28,401 --> 00:26:30,840
that my teacher had taught me,
340
00:26:30,961 --> 00:26:33,759
I felt I had to use it
341
00:26:34,000 --> 00:26:37,119
in the simplest of the professions,
even the lowest,
342
00:26:37,360 --> 00:26:40,880
redeeming it with the principles
of dodecaphonic music
343
00:26:41,001 --> 00:26:43,239
transposed into tonal music.
344
00:26:53,161 --> 00:26:57,759
He would give colour to these songs,
turn the into something else.
345
00:26:58,041 --> 00:26:59,720
I'm not worthy of you.
346
00:27:01,600 --> 00:27:03,080
I don't deserve you anymore.
347
00:27:09,961 --> 00:27:11,720
There was counterpoint in it
348
00:27:11,841 --> 00:27:15,080
There was no reason for it,
an accompanying chord was enough.
349
00:27:15,241 --> 00:27:16,800
There was always counterpoint.
350
00:27:25,480 --> 00:27:27,800
I think he basically
invented the arrangement.
351
00:27:27,921 --> 00:27:30,279
Until then, songs were just accompanied.
352
00:27:30,400 --> 00:27:32,960
Before Morricone,
there was only the accompaniment.
353
00:27:33,160 --> 00:27:36,480
The orchestra followed the chords,
354
00:27:36,561 --> 00:27:37,880
it was the background.
355
00:27:37,960 --> 00:27:40,880
He started personalizing the songs.
356
00:27:44,241 --> 00:27:49,440
I was trying to add something
superior to the song itself.
357
00:27:49,641 --> 00:27:51,560
But I didn't think I was an innovator.
358
00:27:57,081 --> 00:27:59,640
I used to see him writing
while he was talking on the phone,
359
00:27:59,721 --> 00:28:03,000
he would write the arrangement,
the violin part, the trumpet part.
360
00:28:03,160 --> 00:28:05,480
And he would carry on like this,
while on the phone.
361
00:28:05,560 --> 00:28:09,759
He stands in front of a piano,
362
00:28:10,761 --> 00:28:13,800
he looks at the keys and writes.
He writes the score.
363
00:28:14,161 --> 00:28:15,840
He could imagine the sounds.
364
00:28:16,000 --> 00:28:17,600
He looks at the keys and writes.
365
00:28:17,800 --> 00:28:19,359
Without playing them.
He just hears them.
366
00:28:19,561 --> 00:28:21,080
He had the music in here, inside.
367
00:28:21,160 --> 00:28:24,240
The orchestra is conducted
by Ennio Morricone.
368
00:28:36,561 --> 00:28:38,360
Can you hear it?
There is also a trick.
369
00:28:40,120 --> 00:28:41,480
Many arrangements
370
00:28:41,721 --> 00:28:45,039
start with something very catchy,
right at the beginning.
371
00:28:45,481 --> 00:28:47,679
Conducted by Ennio Morricone.
372
00:28:47,881 --> 00:28:51,920
He did an extraordinary arrangement
for Paul Anka, with an amazing beginning.
373
00:29:01,480 --> 00:29:04,920
-Ten seconds and you were riveted.
-The song started, and he sang.
374
00:29:11,241 --> 00:29:14,240
Ennio came up with musical phrases
375
00:29:14,401 --> 00:29:16,839
that could constantly
run after each other.
376
00:29:17,001 --> 00:29:20,360
They became the trademark of the song.
377
00:29:30,640 --> 00:29:34,080
This device immediately
identified the song.
378
00:29:35,641 --> 00:29:39,000
The greatest artists of the time
wanted Morricone.
379
00:29:42,001 --> 00:29:44,079
I also worked with Chet Baker.
380
00:29:44,401 --> 00:29:46,560
He played the trumpet
in an extraordinary way.
381
00:29:46,761 --> 00:29:48,960
So dark that it sounded like a flugelhorn.
382
00:29:53,920 --> 00:29:58,440
My father, at the age of 55,
was losing his skills on the trumpet.
383
00:29:58,840 --> 00:30:01,599
I didn’t put trumpets in what I did.
384
00:30:02,320 --> 00:30:03,639
So as not to offend him.
385
00:30:03,921 --> 00:30:07,680
This was a dramatic moment
in our relationship.
386
00:30:08,161 --> 00:30:11,199
And my mother used to say:
"Why don't you call dad to work?"
387
00:30:11,521 --> 00:30:16,320
And I never told her that
he was no longer a great trumpet player.
388
00:30:16,401 --> 00:30:19,959
So I didn't call his colleagues either.
389
00:30:20,241 --> 00:30:21,759
I felt this was the right thing to do.
390
00:30:22,041 --> 00:30:25,520
When he died,
I started calling the trumpets again.
391
00:30:30,441 --> 00:30:32,280
All he cared about was music.
392
00:30:32,401 --> 00:30:35,280
He was so absorbed by music,
that nothing else mattered.
393
00:30:35,481 --> 00:30:38,720
And he was absent.
Continuously absent.
394
00:30:41,761 --> 00:30:42,840
For me he created miracles.
395
00:30:48,400 --> 00:30:51,600
The singles were made
with a commercial intent.
396
00:30:51,721 --> 00:30:55,520
So I needed to work on the rhythm.
397
00:30:55,785 --> 00:30:58,640
The albums, very few of them were sold.
398
00:31:00,081 --> 00:31:02,240
So there, I could use my ideas.
399
00:31:05,920 --> 00:31:08,919
He managed to add cultured quotations.
400
00:31:10,521 --> 00:31:13,119
he starts it
with Beethoven's ''Moonlight Sonata''.
401
00:31:22,480 --> 00:31:25,719
It was a nocturne, by Beethoven,
402
00:31:25,960 --> 00:31:28,880
I thought it was consistent
with a song called ''Voice at Night''.
403
00:31:34,000 --> 00:31:38,360
He did the arrangement of ''Ciribiribin''
for four pianos.
404
00:31:42,321 --> 00:31:44,319
I used the incipit of...
405
00:31:48,081 --> 00:31:49,359
The beginning of the melody,
406
00:31:49,441 --> 00:31:52,040
I took it as a cue
for arranging the whole song.
407
00:31:52,240 --> 00:31:54,800
That arrangement was a complete invention.
408
00:31:55,161 --> 00:31:56,679
I remember he once said:
409
00:31:56,761 --> 00:31:58,880
''There is only one arrangement of a song:
410
00:31:58,960 --> 00:32:00,360
the one I created''.
411
00:32:00,841 --> 00:32:02,400
But he would plain to you why.
412
00:32:02,521 --> 00:32:04,719
And 99 times out of 100, he convinced you.
413
00:32:05,521 --> 00:32:07,320
One in 100, he didn't.
414
00:32:07,480 --> 00:32:09,759
Zambrini wrote the song
''In Ginocchio da Te''.
415
00:32:09,921 --> 00:32:13,119
He did the first arrangement of my music.
416
00:32:13,321 --> 00:32:15,320
We went into the recording studio,
417
00:32:15,441 --> 00:32:18,960
Ennio gets on the podium
and starts conducting.
418
00:32:19,201 --> 00:32:20,520
And we listen to it.
419
00:32:20,641 --> 00:32:23,360
I could see the lyricist and producer
Migliacci from the recording studio
420
00:32:23,641 --> 00:32:25,160
turning his nose up at it.
421
00:32:25,641 --> 00:32:27,039
It was very sweet.
422
00:32:27,280 --> 00:32:30,519
''It's not good, it needs some rhythm.''
423
00:32:30,841 --> 00:32:33,999
''There must be a part with momentum.''
424
00:32:34,081 --> 00:32:36,279
-''So, now what do we do?''
-''We have to redo it.''
425
00:32:36,441 --> 00:32:37,839
He did not bat an eyelid.
426
00:32:37,960 --> 00:32:39,600
He went home, and he wrote again.
427
00:32:39,721 --> 00:32:41,280
The next Friday,
428
00:32:42,201 --> 00:32:44,880
he was already a bit on edge.
429
00:32:45,040 --> 00:32:47,760
He asked me to sing live.
430
00:32:48,121 --> 00:32:49,200
So I start.
431
00:32:52,081 --> 00:32:54,159
And Migliacci on the other side...
432
00:32:55,321 --> 00:32:56,600
He wasn't happy.
433
00:32:56,800 --> 00:32:59,760
''Ennio, this is not good either.
It's still too soft.''
434
00:32:59,920 --> 00:33:01,800
I told him:
''Ennio, you need to redo it''.
435
00:33:02,560 --> 00:33:04,160
''But this is a melodic song!''
436
00:33:04,360 --> 00:33:05,960
We said: “In this way
it's impossible to dance''
437
00:33:06,160 --> 00:33:08,760
''I won't do it again. Get someone else.''
438
00:33:08,841 --> 00:33:10,119
And they said, ''You have to.''
439
00:33:10,201 --> 00:33:13,599
''Make it desperate, put some rage in it...''
440
00:33:15,961 --> 00:33:17,960
So he calls again everybody.
441
00:33:18,280 --> 00:33:20,240
A group of 40, 50...
442
00:33:20,320 --> 00:33:22,080
backup singers, eight of them,
443
00:33:22,161 --> 00:33:24,800
guitarists, keyboardists,
pianists, harpsichordists
444
00:33:24,880 --> 00:33:27,759
and also trombones, horns...
445
00:33:28,600 --> 00:33:30,920
He goes home, mad as hell.
He starts writing again.
446
00:33:31,120 --> 00:33:32,799
-The next day...
-He shows up.
447
00:33:32,881 --> 00:33:34,920
''It's the last time, I won't try it again.
448
00:33:35,361 --> 00:33:37,479
This is the rubbish you like.''
449
00:33:38,041 --> 00:33:39,200
He throws it on the table.
450
00:33:39,400 --> 00:33:41,960
''Take this pile of crap.''
451
00:33:42,361 --> 00:33:44,600
He gets on the podium and starts.
452
00:33:45,081 --> 00:33:46,760
I remember it very well.
453
00:33:46,840 --> 00:33:47,799
The piano.
454
00:34:03,441 --> 00:34:04,880
Migliacci was like...
455
00:34:06,921 --> 00:34:08,520
''Ennio, this is amazing.''
456
00:34:08,800 --> 00:34:11,160
''No, it's awful. I don't like it.''
457
00:34:11,281 --> 00:34:12,279
But it was great.
458
00:34:12,481 --> 00:34:15,000
Then he added all the responses.
459
00:34:15,280 --> 00:34:16,959
I'll come back..
460
00:34:18,441 --> 00:34:19,920
to you on my knees...
461
00:34:25,240 --> 00:34:26,720
And, of course, they made the film.
462
00:34:26,881 --> 00:34:28,440
And Ennio did the soundtrack.
463
00:34:32,641 --> 00:34:35,520
You could tell
that I was a peculiar arranger.
464
00:34:35,721 --> 00:34:36,920
A bit more difficult.
465
00:34:37,720 --> 00:34:41,679
I noticed he was at RCA less and less.
466
00:34:46,240 --> 00:34:47,960
Luciano Salce knew me
467
00:34:48,160 --> 00:34:49,959
and he asked me to compose the score
for ''Il Federale''.
468
00:34:50,281 --> 00:34:53,840
It was the first time
my name would appear on a film.
469
00:34:58,120 --> 00:34:59,799
It was a debut, for way of saying.
470
00:35:05,401 --> 00:35:08,199
''Gunfight at Red Sands'',
and ''Bullets Don't Argue''
471
00:35:08,481 --> 00:35:10,599
are Ennio Morricone's first two westerns,
472
00:35:10,761 --> 00:35:12,840
both from 1963.
473
00:35:15,721 --> 00:35:17,919
Initially, he uses pseudonyms.
474
00:35:18,121 --> 00:35:22,359
Nobody knows that Ennio Morricone
is working on these westerns.
475
00:35:22,600 --> 00:35:25,599
Dan Savio was a friend of my wife,
476
00:35:25,881 --> 00:35:27,159
so I used her name.
477
00:35:28,761 --> 00:35:33,440
He doesn't want to reveal
to Petrassi and his colleagues
478
00:35:33,520 --> 00:35:34,599
that he is doing westerns.
479
00:35:39,841 --> 00:35:42,800
I remember I made up
the horses riding with the guitars.
480
00:35:54,361 --> 00:35:55,880
Sergio Leone called me
481
00:35:56,001 --> 00:35:58,280
because he heard the music
of these two westerns.
482
00:35:58,441 --> 00:35:59,720
He came to my house.
483
00:35:59,881 --> 00:36:02,160
He asked me to do his film.
484
00:36:02,241 --> 00:36:04,080
However, I...
485
00:36:04,081 --> 00:36:05,919
I knew that face.
486
00:36:06,001 --> 00:36:10,560
And I said: ''Are you the Leone who
went to school at the Carissimi?''
487
00:36:11,001 --> 00:36:12,240
''Yes, that's me.''
488
00:36:12,321 --> 00:36:14,000
''I'm Ennio Morricone.''
489
00:36:15,001 --> 00:36:16,479
They were schoolmates.
490
00:36:16,761 --> 00:36:18,240
There's a beautiful photo,
491
00:36:18,321 --> 00:36:20,679
with all the schoolchildren
in their smocks,
492
00:36:20,841 --> 00:36:23,880
and you can recognise
Sergio Leone and Ennio Morricone.
493
00:36:24,081 --> 00:36:26,799
Two former schoolmates
who meet again to work.
494
00:36:27,201 --> 00:36:28,760
And they become inseparable.
495
00:36:29,761 --> 00:36:33,360
On the same afternoon,
he took me to see a Japanese film.
496
00:36:33,520 --> 00:36:36,360
He explained to me that
''A Fistful of Dollars''
497
00:36:36,441 --> 00:36:38,120
had something in common with it.
498
00:36:41,841 --> 00:36:46,320
Years earlier, Ennio had written
an arrangement for a western record
499
00:36:46,521 --> 00:36:47,919
for an American singer.
500
00:36:48,081 --> 00:36:50,400
I said: ''Let me hear something of yours.''
501
00:36:50,521 --> 00:36:54,159
And he had a record, with a baritone voice.
502
00:36:59,841 --> 00:37:03,279
A very original arrangement
for a western song.
503
00:37:03,441 --> 00:37:06,360
I said: ''Why don't you find me
the backing track?''
504
00:37:06,601 --> 00:37:09,519
I took the whole arrangement,
as I wrote it.
505
00:37:09,760 --> 00:37:12,080
He invented a new melody.
506
00:37:12,201 --> 00:37:13,239
Done with a whistle.
507
00:37:21,561 --> 00:37:23,480
Ennio calls me and says:
508
00:37:23,560 --> 00:37:26,439
''Give me a little whistle,
I need to do something''.
509
00:37:27,241 --> 00:37:29,799
Afterwards, I said to him:
''Not quite a little whistle!''
510
00:37:32,920 --> 00:37:34,959
That's how ''A Fistful of Dollars'' began.
511
00:37:35,200 --> 00:37:39,720
A FISTFUL OF DOLLARS
512
00:37:54,961 --> 00:37:56,520
It was a real turning point.
513
00:38:09,520 --> 00:38:12,720
It was the music
of an out-of-the-ordinary composer.
514
00:38:13,081 --> 00:38:14,160
An unprecedented tone.
515
00:38:14,361 --> 00:38:16,119
We'd never heard anything like it.
516
00:38:16,240 --> 00:38:18,560
An electric guitar, the lashes of a whip.
517
00:38:18,760 --> 00:38:19,800
The piffero.
518
00:38:19,960 --> 00:38:21,879
The anvil, the whistle.
519
00:38:22,041 --> 00:38:24,680
-The bell.
-He set out a new language.
520
00:38:26,680 --> 00:38:30,560
It was a culture shock, for those times.
521
00:38:47,041 --> 00:38:49,719
When Sergio took me
to the editing room to watch it,
522
00:38:50,041 --> 00:38:54,279
for the duel between Volonte and Eastwood
he used the ''Deguello''.
523
00:38:54,880 --> 00:38:58,160
The trumpet piece
from the movie ''Rio Bravo''.
524
00:38:58,641 --> 00:38:59,919
It fit perfectly.
525
00:39:15,040 --> 00:39:18,039
Leone said to me: ''We'll keep this''.
526
00:39:18,441 --> 00:39:20,760
I said, ''Sorry, Sergio, I can't accept that,
527
00:39:20,920 --> 00:39:24,320
you want to use an existing piece
in the main scene,
528
00:39:24,400 --> 00:39:26,840
and I just do the background music''.
529
00:39:35,560 --> 00:39:37,760
And I said: ''I quit''.
530
00:39:38,121 --> 00:39:40,080
Sergio gave up the ''Deguello''.
531
00:39:40,401 --> 00:39:41,559
But he said:
532
00:39:41,800 --> 00:39:44,480
''Please, give me an imitation.
It fit so well''.
533
00:39:44,761 --> 00:39:46,920
I thought of a song,
534
00:39:47,001 --> 00:39:49,839
one that I had written
years earlier for a TV show.
535
00:39:49,921 --> 00:39:52,080
Sung by one of the great Peter Sisters,
536
00:39:52,240 --> 00:39:55,400
a contralto with a deep,
extraordinary voice.
537
00:40:05,920 --> 00:40:07,800
I said: ''I'm going to show Sergio''.
538
00:40:41,841 --> 00:40:45,120
Obviously I instructed
Michele Lacerenza, the trumpeter,
539
00:40:45,241 --> 00:40:47,960
to do those flutters on the trumpet.
540
00:40:54,201 --> 00:40:55,479
Like in the ''Deguello''.
541
00:41:02,001 --> 00:41:06,279
For best music score:
Ennio Morricone, ''A Fistful of Dollars''.
542
00:41:13,201 --> 00:41:14,880
Morricone, a few words.
543
00:41:15,081 --> 00:41:16,359
A few words with Morricone.
544
00:41:16,681 --> 00:41:20,400
-You didn't expect this award.
-No.
545
00:41:20,481 --> 00:41:22,479
-Is this your first award?
-Yes.
546
00:41:22,641 --> 00:41:25,599
Do you often work
on background music for film?
547
00:41:25,761 --> 00:41:27,879
He looked very young to me.
548
00:41:28,041 --> 00:41:32,400
He had this round face and these glasses,
549
00:41:32,560 --> 00:41:34,800
like one of the Peanuts,
550
00:41:34,960 --> 00:41:37,440
like Charlie Brown, or a grown-up Linus.
551
00:41:38,521 --> 00:41:41,960
Ennio was present in a lot of Italian films.
552
00:41:42,201 --> 00:41:45,000
And I used to have a lot of fun
listening and imagining
553
00:41:45,400 --> 00:41:47,120
how he had worked with the director.
554
00:41:47,281 --> 00:41:49,880
FISTS IN THE POCKET
555
00:41:50,001 --> 00:41:52,920
I took big risks with first-time directors.
556
00:41:53,080 --> 00:41:55,200
I tried to make different music.
557
00:41:59,361 --> 00:42:02,840
Ennio is reserved, a believer.
558
00:42:02,920 --> 00:42:04,119
I was impressed
559
00:42:04,281 --> 00:42:08,720
by how he became very involved, in an anti-religious film.
560
00:42:09,280 --> 00:42:13,160
I wrote a lullaby, sung by a female voice,
561
00:42:13,521 --> 00:42:16,599
immersed in dissonant sounds
562
00:42:16,681 --> 00:42:19,959
of a metallic, vibrating surface.
563
00:42:35,161 --> 00:42:37,359
I'm happy I did those kinds of films.
564
00:42:37,441 --> 00:42:39,720
They weren't as commercial as the others.
565
00:42:43,641 --> 00:42:47,079
Time later Sergio Leone and I
went to see again ''A Fistful of Dollars''.
566
00:42:47,320 --> 00:42:50,919
And we admitted to each other
that we didn't like it.
567
00:42:51,241 --> 00:42:53,720
I never loved the music of this film.
568
00:42:54,160 --> 00:42:57,840
I always encouraged Sergio,
in later films, to forget it.
569
00:42:57,921 --> 00:43:00,639
But he insisted:
''Give me some trumpet, do the whistle''.
570
00:43:03,160 --> 00:43:04,239
FOR A FEW DOLLARS MORE
571
00:43:09,601 --> 00:43:11,679
There was friendship between them,
572
00:43:11,881 --> 00:43:13,880
there was complicity,
573
00:43:14,080 --> 00:43:15,480
but also a lot of discussions.
574
00:43:15,681 --> 00:43:18,080
Also, let's say, violent ones.
575
00:43:18,481 --> 00:43:19,801
Cut it.
576
00:43:42,400 --> 00:43:45,320
In the scene
where Sergio wanted the trumpet,
577
00:43:45,481 --> 00:43:49,920
I had the idea to quote
the opening of Bach's ''Toccata and Fugue
578
00:43:50,161 --> 00:43:51,639
in D minor''..
579
00:43:58,401 --> 00:44:01,640
The music of his westerns,
which he considers basic,
580
00:44:01,761 --> 00:44:03,560
had a structure,
581
00:44:03,961 --> 00:44:07,440
a wisdom, a deliberate architecture,
which was impressive.
582
00:44:20,841 --> 00:44:23,600
Sergio Leone,
with ''For a Few Dollars More'',
583
00:44:23,721 --> 00:44:27,320
began to understand
the importance of the soundtrack
584
00:44:27,441 --> 00:44:29,199
by Ennio Morricone in his films.
585
00:44:29,641 --> 00:44:33,639
And he realised that Morricone
was beginning to have an audience.
586
00:44:44,080 --> 00:44:47,760
After a long time,
I met Petrassi and he told me
587
00:44:47,920 --> 00:44:50,679
that he liked my music
for the cinema very much.
588
00:44:50,841 --> 00:44:54,560
And he mentioned a film
that I didn't expect.
589
00:44:55,000 --> 00:44:56,880
''For a Few Dollars More''.
590
00:44:57,040 --> 00:44:58,599
And I was shocked.
591
00:44:58,761 --> 00:45:01,479
Because I thought I had written
better music than that.
592
00:45:01,921 --> 00:45:06,200
And he said: ''However, I know
that you will make up for it.
593
00:45:06,721 --> 00:45:09,159
I know that you will make up for it.''
594
00:45:12,760 --> 00:45:16,520
I don't think Petrassi appreciated
this work he did.
595
00:45:16,960 --> 00:45:19,800
Same as I didn't appreciate it very much.
596
00:45:20,121 --> 00:45:22,959
We really were, in a way,
597
00:45:24,241 --> 00:45:25,239
archaic.
598
00:45:25,480 --> 00:45:27,600
What do you think about the collaboration
599
00:45:27,681 --> 00:45:31,239
between composer and director
in film music?
600
00:45:31,401 --> 00:45:37,239
I would define it totally anti-artistic.
601
00:45:37,921 --> 00:45:41,040
Composers who came out
of Petrassi's school
602
00:45:41,920 --> 00:45:45,519
never had a good opinion of my profession.
603
00:45:45,721 --> 00:45:47,559
My work with the cinema.
604
00:45:47,841 --> 00:45:50,880
And this sort of isolated me.
605
00:45:51,921 --> 00:45:55,239
He once phoned me, when he was young,
606
00:45:55,761 --> 00:45:57,920
and it was very moving.
607
00:45:58,201 --> 00:46:01,959
He said I was a purist
while he was a traitor.
608
00:46:02,680 --> 00:46:06,120
He was divided, also because
the environment forced him to be.
609
00:46:06,201 --> 00:46:08,840
Who are you?
Are you this or are you that?
610
00:46:09,721 --> 00:46:13,560
Ennio had a kind of inferiority complex.
611
00:46:13,960 --> 00:46:17,360
For having given up the purity of the composer,
612
00:46:17,521 --> 00:46:19,040
the vision of Petrassi.
613
00:46:19,201 --> 00:46:23,160
But Petrassi betrayed that idea too,
more than once.
614
00:46:30,081 --> 00:46:32,240
Petrassi also did soundtracks.
615
00:46:32,320 --> 00:46:37,640
However, while Petrassi never thought
that film music was real music,
616
00:46:38,161 --> 00:46:39,440
Ennio thought it was.
617
00:46:44,841 --> 00:46:48,159
Petrassi couldn't understand
618
00:46:48,241 --> 00:46:51,000
what was special about Ennio.
619
00:46:51,081 --> 00:46:56,000
His ability to identify
with a situation, a scene.
620
00:46:56,200 --> 00:46:59,720
Petrassi probably couldn't do that,
just like I couldn't.
621
00:46:59,881 --> 00:47:04,239
And I think that
even Petrassi was not entirely free
622
00:47:04,321 --> 00:47:06,279
from an inferiority complex.
623
00:47:06,441 --> 00:47:09,159
I also did ''The Bible''
624
00:47:09,241 --> 00:47:12,600
directed by a certain director
called, I think, Huston.
625
00:47:12,721 --> 00:47:15,399
He put a lot of effort
into writing that music.
626
00:47:15,721 --> 00:47:18,999
But Huston didn't accept it,
627
00:47:19,120 --> 00:47:21,080
because, according to him,
it was too difficult.
628
00:47:21,145 --> 00:47:26,160
So I think it's the end
of my work with the cinema.
629
00:47:26,800 --> 00:47:30,120
It almost seemed like fate,
and an unjust fate.
630
00:47:30,561 --> 00:47:34,479
I was called by Dino De Laurentiis...
631
00:47:37,600 --> 00:47:40,560
to replace my teacher, Petrassi.
632
00:47:45,400 --> 00:47:48,360
The musical production
was a co-production between
633
00:47:48,601 --> 00:47:51,240
RCA and Dino De Laurentiis.
634
00:47:51,721 --> 00:47:54,879
And Dino said to me:
''Do a piece on the Creation.
635
00:47:55,000 --> 00:47:57,960
We'll give it to Huston,
if he likes it, you'll do the whole film.''
636
00:48:00,721 --> 00:48:03,399
I simulated the light,
637
00:48:03,561 --> 00:48:06,960
a trickle of water,
which then widened and swelled,
638
00:48:07,281 --> 00:48:08,960
and then it burst with the fire.
639
00:48:09,121 --> 00:48:11,000
Then the animals, the birds...
640
00:48:11,440 --> 00:48:13,440
All this dynamism. Then it started again.
641
00:48:18,001 --> 00:48:20,240
Maria went to a synagogue
642
00:48:20,401 --> 00:48:23,559
and took some ancient Hebrew texts
which Ennio set to music.
643
00:48:26,601 --> 00:48:29,880
Huston came several times.
De Laurentiis came several times.
644
00:48:30,121 --> 00:48:32,000
They all seemed very happy.
645
00:48:32,680 --> 00:48:33,800
I got the job.
646
00:48:34,081 --> 00:48:38,199
At that point, De Laurentiis said to me:
''What do we care about RCA?
647
00:48:38,401 --> 00:48:40,280
Just do the film with me''.
648
00:48:40,480 --> 00:48:43,560
And I said: ''I have an exclusive with RCA,
649
00:48:43,960 --> 00:48:46,200
I can't do this rudeness to them''.
650
00:48:46,321 --> 00:48:49,040
I went to RCA and talked to the president.
651
00:48:49,240 --> 00:48:53,679
I said: ''This is a great opportunity
for me, unique, rare.
652
00:48:54,081 --> 00:48:55,800
Let me do 'The Bible'''.
653
00:48:55,960 --> 00:49:00,000
''No, you can't do it.
You have a contract with us.''
654
00:49:00,441 --> 00:49:03,240
And I didn't do it. Of course, I didn't.
655
00:49:03,520 --> 00:49:05,720
Despite everything,
Petrassi's point is clear.
656
00:49:05,800 --> 00:49:10,239
He states that writing for the cinema,
for commercial music,
657
00:49:10,321 --> 00:49:13,920
is, for an academic musician,
like prostitution.
658
00:49:14,440 --> 00:49:16,400
So he is morally condemned.
659
00:49:16,720 --> 00:49:17,799
Guilty.
660
00:49:18,921 --> 00:49:20,000
Guilty.
661
00:49:20,161 --> 00:49:22,440
At first, I felt guilty,
662
00:49:22,600 --> 00:49:25,239
but I slowly redeemed this feeling.
663
00:49:25,441 --> 00:49:28,920
So much so that by writing,
I wanted my revenge.
664
00:49:31,081 --> 00:49:32,319
I wanted to conquer...
665
00:49:34,480 --> 00:49:35,880
this...
666
00:49:38,680 --> 00:49:40,080
guilt.
667
00:50:27,201 --> 00:50:29,559
Gillo Pontecorvo wanted to meet me.
668
00:50:30,201 --> 00:50:33,360
I didn't expect such an important director.
669
00:50:33,921 --> 00:50:38,319
I was intimidated because
he was different from the others.
670
00:50:39,201 --> 00:50:40,400
He was a big guy.
671
00:50:41,241 --> 00:50:44,240
THE BATTLE OF ALGIERS
672
00:50:46,041 --> 00:50:47,640
And I wrote even this piece...
673
00:50:51,241 --> 00:50:54,519
It was one of my variations
on Frescobaldi's theme.
674
00:51:04,161 --> 00:51:07,080
There were three notes:
A, B flat and B natural.
675
00:51:07,201 --> 00:51:10,080
And then the contrary motion:
F sharp, F natural, E.
676
00:51:10,921 --> 00:51:12,600
It's about what I had learned.
677
00:51:12,681 --> 00:51:16,479
I am made up of everything that music was,
678
00:51:16,561 --> 00:51:17,559
the music I studied.
679
00:51:18,321 --> 00:51:19,800
A little to your left.
680
00:51:22,120 --> 00:51:26,079
Pasolini already, had a list of records
that I had to put in the film.
681
00:51:27,400 --> 00:51:29,280
He said to Ennio: ''So, maestro,
682
00:51:29,361 --> 00:51:32,960
I would like this Bach part here.
683
00:51:33,201 --> 00:51:36,999
I said, ''Excuse me,
but I'm a composer who writes music,
684
00:51:37,641 --> 00:51:41,360
I don't take other people's music
and put in a movie,
685
00:51:41,440 --> 00:51:42,759
this is not possible.
686
00:51:42,841 --> 00:51:44,160
I have to refuse''.
687
00:51:44,841 --> 00:51:48,360
And he said:
''In that case, do what you want''.
688
00:51:59,169 --> 00:52:00,944
I wrote that rhyme,
689
00:52:01,480 --> 00:52:03,600
between serious and funny.
690
00:52:12,481 --> 00:52:16,800
there was ''music by Ennio Morricone''
and I sang...
691
00:52:16,881 --> 00:52:19,359
sang, kind of, a laugh.
692
00:52:28,641 --> 00:52:32,360
Until that moment, Pasolini
only used Bach's music.
693
00:52:32,800 --> 00:52:34,440
Then, he switched to Morricone.
694
00:52:59,121 --> 00:53:03,639
The music in Sergio Leone's first films
felt below what I could do,
695
00:53:03,880 --> 00:53:06,600
because I was a slave to Sergio's vices,
696
00:53:06,801 --> 00:53:12,320
then I came up with the theme
which was the coyote's howl.
697
00:53:17,080 --> 00:53:18,320
And I went...
698
00:53:20,560 --> 00:53:23,919
It's dramatic but fun,
and he liked it very much.
699
00:53:26,401 --> 00:53:27,600
THE GOOD
700
00:53:30,225 --> 00:53:31,353
THE UGLY
701
00:53:45,520 --> 00:53:46,119
THE BAD
702
00:54:33,880 --> 00:54:36,360
Let's focus on Ennio Morricone.
703
00:54:36,841 --> 00:54:41,000
Ennio, do you realise
that your story is unique
704
00:54:41,121 --> 00:54:45,120
in the history of Italian music?
You created two best sellers in two years,
705
00:54:45,280 --> 00:54:47,240
two records with movie soundtracks
706
00:54:47,361 --> 00:54:49,680
that were two incredible, tremendous hits.
707
00:54:49,720 --> 00:54:50,960
I was lucky.
708
00:54:51,040 --> 00:54:52,520
I don't think so. You are good.
709
00:54:52,600 --> 00:54:54,200
I went to spy,
710
00:54:54,361 --> 00:54:56,240
I bribed the projectionist,
711
00:54:56,401 --> 00:54:59,880
I went to the copyist
and tried to look at his score.
712
00:55:00,001 --> 00:55:06,720
Following his work, I know
he's an artist who never sought fame.
713
00:55:06,801 --> 00:55:08,439
This is Maestro Morricone.
714
00:55:08,601 --> 00:55:11,240
You may not recognise his face,
but you know his name.
715
00:55:11,320 --> 00:55:13,760
Morricone specialized
in music for western movies.
716
00:55:14,080 --> 00:55:18,080
Obviously, every western
from that period came to me,
717
00:55:18,201 --> 00:55:21,519
and I had to work on them,
because that was my destiny at the time.
718
00:55:28,081 --> 00:55:29,799
A funny story about Ennio:
719
00:55:29,920 --> 00:55:31,680
you make a movie, you show it to him.
720
00:55:31,881 --> 00:55:35,520
The first time he watches the movie,
he falls asleep.
721
00:55:38,800 --> 00:55:41,640
He falls asleep
like the gunslingers in the West,
722
00:55:41,721 --> 00:55:44,319
who seemed asleep,
but then they shot you first.
723
00:55:49,840 --> 00:55:52,080
He had watched it anyway,
he already knew,
724
00:55:52,161 --> 00:55:55,119
what he said was already
right on the mark.
725
00:56:02,721 --> 00:56:06,560
''The Great Silence'' by Sergio Corbucci
was set all on snow...
726
00:56:06,722 --> 00:56:07,760
All on snow.
727
00:56:07,842 --> 00:56:10,241
Horses galloped without making any noise.
728
00:56:10,362 --> 00:56:12,281
The leading character was mute.
729
00:56:15,162 --> 00:56:16,520
Corbucci said to me:
730
00:56:16,602 --> 00:56:18,601
''This is the best music
you've created for me.''
731
00:56:18,801 --> 00:56:21,401
I said: ''Thanks Sergio,
it's because you can hear it.''
732
00:56:26,121 --> 00:56:29,840
In the movies,
mixing sound without a balance
733
00:56:29,961 --> 00:56:32,041
can damage the movie and the music,
734
00:56:32,522 --> 00:56:36,521
which is an abstract element added
to the film and it's not necessary.
735
00:56:36,609 --> 00:56:41,817
But when we want to hear it,
we need to let it be free.
736
00:56:49,161 --> 00:56:53,761
There was a period when I tried to reduce the notes
737
00:56:53,882 --> 00:56:57,041
in order to communicate something
the audience could remember.
738
00:57:16,521 --> 00:57:20,801
I had one of my first ideas
while I was paying the gas bill.
739
00:57:20,922 --> 00:57:23,281
It was the song ''Se Telefonando''
740
00:57:23,481 --> 00:57:24,641
that Mina asked me for.
741
00:57:24,842 --> 00:57:28,361
And there I tried out
the three notes for the first time.
742
00:57:28,562 --> 00:57:32,321
They were three and in 4/4 time.
743
00:57:32,402 --> 00:57:36,361
The stress never falls on the same note.
744
00:57:36,722 --> 00:57:40,921
It was a very important discovery
for tonal music,
745
00:57:41,042 --> 00:57:44,840
because it also became catchier.
746
00:58:09,801 --> 00:58:10,880
See, it's another note.
747
00:58:16,322 --> 00:58:17,201
The three notes...
748
00:58:19,082 --> 00:58:21,200
It's always there,
but it's different for each measure.
749
00:58:31,002 --> 00:58:35,960
He could repeat the same thing
without making it stale.
750
00:58:38,882 --> 00:58:42,121
I never abandoned
the experience with fewer notes,
751
00:58:42,282 --> 00:58:45,121
because I always liked to have a little fun.
752
00:58:56,322 --> 00:58:58,721
Ennio was at the piano and told me:
753
00:58:58,802 --> 00:59:03,721
''Now I'll play you two themes
that cross each other.''
754
00:59:04,082 --> 00:59:07,280
I often write two themes
without realizing it,
755
00:59:07,442 --> 00:59:12,161
One theme into the other
to make them more agile.
756
00:59:15,762 --> 00:59:18,401
And he played me two themes
that cross each other.
757
00:59:29,121 --> 00:59:32,600
I am not ashamed to say
that I didn't like that theme.
758
00:59:32,882 --> 00:59:35,120
I told the director, Peppino Patroni Griffi:
759
00:59:35,241 --> 00:59:37,801
''I would discard this.
Be patient and listen to me.''
760
00:59:37,962 --> 00:59:39,200
And he told me I was mad.
761
00:59:41,601 --> 00:59:43,601
'''Love Circle'' I find brilliant.
762
00:59:49,962 --> 00:59:53,960
Because it's minimalist,
what's trending now in music.
763
00:59:54,321 --> 00:59:56,041
Peppino was right,
764
00:59:57,081 --> 01:00:00,680
because I can't judge my own themes.
765
01:00:00,842 --> 01:00:02,401
That's why, from that moment on,
766
01:00:02,642 --> 01:00:06,320
I made my wife listen all the themes I wrote.
767
01:00:06,482 --> 01:00:09,161
If she liked them,
I played them for the director.
768
01:00:09,321 --> 01:00:12,560
Directors only heard
the pieces that my wife liked.
769
01:00:12,642 --> 01:00:15,281
I remember that Ennio was never alone.
770
01:00:15,882 --> 01:00:17,281
Maria was always with Ennio.
771
01:00:17,522 --> 01:00:22,280
This woman who was a mother,
a wife, and a partner,
772
01:00:22,521 --> 01:00:27,800
but who watched over his talent
in a wonderful way.
773
01:00:28,082 --> 01:00:33,680
Because it's a sacrifice.
For love, she was his first applause.
774
01:00:33,921 --> 01:00:39,080
She, not knowing about music,
could give me an honest opinion,
775
01:00:39,201 --> 01:00:41,960
so that's what I've been doing for years.
776
01:00:57,081 --> 01:01:00,841
She created a defensive perimeter
777
01:01:01,082 --> 01:01:04,601
so that Ennio Morricone's
genius could be free.
778
01:01:08,721 --> 01:01:14,521
I always wondered how Ennio could be both
779
01:01:14,802 --> 01:01:18,560
a movie musician
and an experimental musician.
780
01:01:22,682 --> 01:01:25,001
When I write for movies, I am a composer.
781
01:01:25,082 --> 01:01:28,081
When I am write for myself
I am someone else,
782
01:01:28,442 --> 01:01:32,761
so I become a very diverse
and opposite composer,
783
01:01:32,922 --> 01:01:35,801
that it feels like I have a double face.
784
01:01:36,122 --> 01:01:38,720
''Suoni per Dino'', written by Ennio Morricone
785
01:01:38,802 --> 01:01:40,640
for Dino Asciolla and tape recorder,
786
01:01:40,842 --> 01:01:43,400
musically expresses what the author thinks
787
01:01:43,562 --> 01:01:46,921
about the disturbing issues
that trouble today's society.
788
01:01:49,761 --> 01:01:55,681
They interviewed him: ''How can
a composer of spaghetti western music
789
01:01:55,842 --> 01:01:58,841
have this experimental nature?''
790
01:01:59,121 --> 01:02:02,442
He never gave up experimental music,
791
01:02:02,505 --> 01:02:05,241
he even tried to use it in movies.
792
01:02:07,922 --> 01:02:11,360
When Elio Petri met me
for the first time he told me:
793
01:02:11,442 --> 01:02:14,281
''I only work once with a composer,
794
01:02:14,402 --> 01:02:17,480
so bear in mind that this is the first
and last movie that we'll make together.''
795
01:02:25,281 --> 01:02:27,041
I created very difficult music,
796
01:02:27,201 --> 01:02:31,441
but the main character was a painter
who was existentially confused
797
01:02:31,682 --> 01:02:34,841
and it felt right to call
the Nuova Consonanza Improvisation Group,
798
01:02:35,066 --> 01:02:36,200
in which I played,
799
01:02:38,202 --> 01:02:42,241
and use my previous composition
for 11 violins,
800
01:02:42,402 --> 01:02:45,440
to which I added
percussion and a female voice.
801
01:02:59,762 --> 01:03:06,401
We improvised in front of the movie,
in sync with the mad painter's dreams,
802
01:03:06,482 --> 01:03:10,361
so paints were spilling, boards fell over,
803
01:03:10,482 --> 01:03:13,121
and the music somehow replaced the noises.
804
01:03:30,962 --> 01:03:34,160
The movie and the music
were critically acclaimed,
805
01:03:34,281 --> 01:03:36,800
but the movie flopped.
806
01:03:37,322 --> 01:03:41,120
I felt responsible for this failure.
807
01:03:49,041 --> 01:03:54,881
During a concert in Florence,
a stage-hand got on stage,
808
01:03:55,281 --> 01:03:58,081
took a ladder and started shaking it.
809
01:03:58,202 --> 01:04:01,441
The old wood made a sound...
810
01:04:11,121 --> 01:04:16,601
After ten minutes, that man got off
and left, the concert was over.
811
01:04:20,121 --> 01:04:25,640
I told that to Sergio... and he understood.
812
01:04:35,202 --> 01:04:38,521
The first 20 minutes of ''Once Upon a Time
in the West'' are concrete music.
813
01:04:45,762 --> 01:04:52,361
It was the result of what happened
with the ladder in Florence.
814
01:05:01,362 --> 01:05:04,280
Somehow, the noises were music.
815
01:05:22,041 --> 01:05:25,160
That character plays the harmonica
more than he speaks,
816
01:05:25,922 --> 01:05:27,440
so it is a voice.
817
01:05:31,602 --> 01:05:36,080
Entrusting so much of that character
to Ennio meant putting yourself in his hands,
818
01:05:36,162 --> 01:05:39,560
and it's no coincidence that my father
never worked with another musician.
819
01:06:06,921 --> 01:06:10,961
It's an extremely seductive music.
820
01:06:11,522 --> 01:06:16,640
It seduces you, envelops you,
821
01:06:17,402 --> 01:06:19,681
gets stuck in your head.
822
01:06:40,041 --> 01:06:42,920
They gave me the music
and I just read and performed.
823
01:06:43,082 --> 01:06:44,681
I didn't practice it first.
824
01:06:45,081 --> 01:06:46,841
I heard that it was a beautiful melody.
825
01:06:47,402 --> 01:06:51,560
Music that we've kept
listening to all our lives.
826
01:06:52,362 --> 01:06:55,441
It became part of the fabric
of our daily lives.
827
01:07:16,521 --> 01:07:22,241
The voices, the sounds, the noises
the tone, the mood,
828
01:07:22,362 --> 01:07:24,001
the short phrases.
829
01:07:24,122 --> 01:07:25,721
Ennio uses them for what they are.
830
01:07:25,962 --> 01:07:29,441
Notes are like construction
materials for a building.
831
01:07:30,122 --> 01:07:34,681
The bricks are the same in all buildings,
but the buildings are not the same.
832
01:07:35,322 --> 01:07:39,121
Those were the bricks
he used to build his cathedrals.
833
01:07:54,602 --> 01:07:59,360
I didn't want to be categorised as someone
who only composes music for westerns.
834
01:08:01,442 --> 01:08:05,960
Lattuada encouraged me
to write symphonic music.
835
01:08:06,201 --> 01:08:10,321
They're all violins played divisi,
then all the strings, but especially violins.
836
01:08:10,641 --> 01:08:13,160
And I tried for truly symphonic music.
837
01:08:25,802 --> 01:08:29,480
Actually, my most difficult piece
is a different one.
838
01:08:44,802 --> 01:08:48,361
The score for ''The Sicilian Clan''
took a great effort.
839
01:08:59,042 --> 01:09:01,001
Good evening Mr. Malanese,
840
01:09:01,521 --> 01:09:03,721
I hope you're not too surprise
to see me.
841
01:09:04,362 --> 01:09:06,440
I told to you,
to come when you wanted.
842
01:09:11,322 --> 01:09:13,961
There's the first exposition
of the main theme...
843
01:09:23,721 --> 01:09:28,040
And then I added
as a second counterpoint Bach's name.
844
01:09:28,602 --> 01:09:36,361
B is for B flat, A is for A,
C is for C, and H is B natural.
845
01:09:37,002 --> 01:09:38,120
Which is Bach.
846
01:09:38,762 --> 01:09:42,001
He created a counterpoint
that managed to combine
847
01:09:42,201 --> 01:09:44,641
each part with its own voice,
the drums, the double bass,
848
01:09:44,802 --> 01:09:46,880
and air the instruments that come in.
849
01:09:49,842 --> 01:09:52,361
That's Bach's name, I changed the order.
850
01:09:57,081 --> 01:09:57,680
And behind..
851
01:10:09,882 --> 01:10:11,240
The funny thing
852
01:10:11,402 --> 01:10:14,960
on the theme that supported Bach's name,
there is a Sicilian theme.
853
01:10:34,242 --> 01:10:36,161
At a first listen it seems like a piece...
854
01:10:36,282 --> 01:10:39,161
but no, it hides
an immense amount of knowledge.
855
01:10:39,282 --> 01:10:45,121
All the composers
were fascinated by this B A C H,
856
01:10:46,002 --> 01:10:47,641
but that doesn't matter.
857
01:10:49,161 --> 01:10:51,361
Notes are no longer important.
858
01:10:51,482 --> 01:10:54,841
What's important is
what a composer makes out of them.
859
01:11:10,922 --> 01:11:12,521
The names, the names!
860
01:11:13,401 --> 01:11:17,840
I had already edited the music
for ''I Cannibali'' by Liliana Cavani.
861
01:11:18,122 --> 01:11:21,200
In the same building
Gillo was editing ''Queimada'',
862
01:11:21,362 --> 01:11:25,280
and from afar he heard
a choir of that music.
863
01:11:28,761 --> 01:11:33,320
When Liliana Cavani was not there
he went to the editing room
864
01:11:33,402 --> 01:11:36,680
and took her tape with that piece,
865
01:11:36,801 --> 01:11:41,761
put it over his beach scene
and it fit perfectly
866
01:11:56,762 --> 01:12:02,441
That music in my movie felt
like a secular hymn to freedom.
867
01:12:02,562 --> 01:12:04,361
We got in a fight.
868
01:12:04,442 --> 01:12:09,001
He wanted me to take that piece away
from Liliana Cavani and use it in ''Queimada''.
869
01:12:09,402 --> 01:12:12,241
Exhausted Gillo told me:
''Fine, then write me something similar.''
870
01:12:28,082 --> 01:12:31,160
I noticed, when I watched
Pontecorvo's movie,
871
01:12:31,242 --> 01:12:33,560
that the theme was from ''I Cannibali''.
872
01:12:33,722 --> 01:12:36,841
It was clear they were similar!
They were different, but similar.
873
01:12:47,922 --> 01:12:49,561
I was in the crossfire.
874
01:13:11,522 --> 01:13:15,920
I remember a time when he said to me:
''Do you want to improvise Abolisson?''
875
01:13:16,041 --> 01:13:18,601
Just like that, with no notice,
as I was about to go on stage.
876
01:13:20,882 --> 01:13:21,721
Of course!
877
01:13:46,881 --> 01:13:52,361
The human voice is very magical,
because it comes out of our body,
878
01:13:52,482 --> 01:13:54,560
without needing an instrument.
879
01:14:18,642 --> 01:14:20,321
By the end of the '60s,
880
01:14:20,442 --> 01:14:24,521
Ennio Morricone was a guarantee
for producers and directors.
881
01:14:24,722 --> 01:14:30,521
In 1969 alone, 21 movies
with his music were released.
882
01:14:35,562 --> 01:14:39,841
Ennio's huge success made people envious.
883
01:14:40,041 --> 01:14:43,801
They weren't only envious,
but they copied him too.
884
01:14:44,241 --> 01:14:46,400
Then envy turned into slander.
885
01:14:46,602 --> 01:14:49,681
''You made 18 movies in one year,
how's that possible?
886
01:14:49,802 --> 01:14:51,361
You didn't do all of them, right?''
887
01:14:52,922 --> 01:14:54,200
He sat like this.
888
01:14:54,321 --> 01:14:57,881
He was so fast at writing music
that it seemed like he was writing a letter.
889
01:14:58,281 --> 01:15:02,240
He had a clarity of ideas
when he imagined music.
890
01:15:02,402 --> 01:15:04,520
He was clear, simple.
891
01:15:06,882 --> 01:15:08,480
How many film scores did you compose?
892
01:15:09,282 --> 01:15:11,161
I don't... I never counted.
893
01:15:22,641 --> 01:15:26,321
I was sure Elio Petri and I
wouldn't work together again,
894
01:15:26,721 --> 01:15:29,360
but then he called me
for all of his next movies.
895
01:15:36,081 --> 01:15:39,121
For ''Investigation of a citizen above suspicion''
I wrote a little arpeggio.
896
01:15:49,682 --> 01:15:54,920
During the mixing Elio called me
and showed me the first part.
897
01:16:02,601 --> 01:16:06,641
And I said: ''Elio, what a damn is this?''
898
01:16:12,282 --> 01:16:14,561
He had changed the music.
899
01:16:14,762 --> 01:16:18,761
He had used the music I had composed
years before for an horrible movie.
900
01:16:25,401 --> 01:16:27,680
Elio said to me: ''It's great.
901
01:16:28,322 --> 01:16:30,721
Look, Bolkan is about to be killed,
902
01:16:30,801 --> 01:16:32,360
look how well the choir works.''
903
01:16:37,041 --> 01:16:40,321
Ruggero Mastroianni, the editor,
was there on my left.
904
01:16:40,802 --> 01:16:44,681
He said: ''Ennio,
don't you see that's extraordinary?''
905
01:16:44,922 --> 01:16:48,641
And I replied: ''How can you
like this music for this scene?
906
01:16:48,722 --> 01:16:49,721
It doesn't fit with it.''
907
01:16:53,121 --> 01:16:55,681
I slowly gave up.
908
01:16:55,881 --> 01:16:57,320
I told him: ''Do as you like.''
909
01:17:00,602 --> 01:17:01,921
The lights went on,
910
01:17:02,682 --> 01:17:06,560
and Elio said something
that still moves me when I think of it.
911
01:17:07,562 --> 01:17:11,281
''You created the best music
I could ever imagine.
912
01:17:13,041 --> 01:17:15,200
You should slap me in the face.''
913
01:17:38,922 --> 01:17:41,441
A brilliant idea that weaves together
914
01:17:41,721 --> 01:17:44,081
everything that Ennio had done until then
915
01:17:44,601 --> 01:17:50,240
and that launches him towards his future
is ''Investigation of a Citizen''.
916
01:17:57,402 --> 01:18:00,121
I was traumatised by ''Investigation''.
917
01:18:00,201 --> 01:18:03,920
It ma e me realise at it was possible
to create very different music
918
01:18:04,002 --> 01:18:06,721
from what even Morricone did until then.
919
01:18:11,082 --> 01:18:13,841
I remember the music
more than the movie.
920
01:18:13,922 --> 01:18:16,280
In fact, the music carries the movie.
921
01:18:25,041 --> 01:18:29,081
He invented a musical format
which is film music.
922
01:18:29,322 --> 01:18:31,241
He may be the inventor of film music.
923
01:18:36,441 --> 01:18:38,321
How will you kill me this time?
924
01:18:39,882 --> 01:18:42,001
I will cut your throat.
925
01:18:46,362 --> 01:18:50,960
Kubrick liked that music
and called me for ''A Clockwork Orange.''
926
01:18:51,482 --> 01:18:56,041
He liked that music so much
that he wanted me to do an imitation of it.
927
01:18:59,721 --> 01:19:04,841
We agreed, but Kubrick called Leone,
928
01:19:05,121 --> 01:19:07,561
who t him that I couldn't do it
because I was working.
929
01:19:07,641 --> 01:19:11,561
My composer Ennio Morricone
is working on
930
01:19:11,682 --> 01:19:14,681
my ne movie called:
''A Fistful of Dynamite.''
931
01:19:14,802 --> 01:19:18,241
But it wasn't true.
I was mixing ''A Fistful of Dynamite''.
932
01:19:18,321 --> 01:19:19,880
The music was done,
933
01:19:19,962 --> 01:19:23,120
so Kubrick gave up on me
without even calling.
934
01:19:23,241 --> 01:19:26,240
It's my only regret
about a movie that I didn't work on.
935
01:19:26,442 --> 01:19:29,921
One, two, one two three four.
936
01:19:33,402 --> 01:19:36,401
I dreamed about being
in a Morricone theme.
937
01:19:36,482 --> 01:19:37,921
Wonderful, wow.
938
01:19:38,562 --> 01:19:42,241
But instead, there were
four people in the recording studio.
939
01:19:44,442 --> 01:19:46,880
So he passed one scene and said...
940
01:19:48,321 --> 01:19:51,121
He gave instructions and then recorded...
941
01:19:56,922 --> 01:19:59,480
Ennio developed multiple scores
942
01:19:59,682 --> 01:20:01,361
and tried them out
in a certain type of thriller movie.
943
01:20:01,362 --> 01:20:02,521
and iriad mam oui
in a certain type of thriller movie.
944
01:20:07,682 --> 01:20:10,681
He looked at me, a little bit angry,
945
01:20:10,881 --> 01:20:12,721
and asked: ''What are those?''
946
01:20:12,801 --> 01:20:16,921
I told him: ''They are records...
In case we need inspiration...''
947
01:20:17,042 --> 01:20:18,320
''Throw them away.''
948
01:20:18,522 --> 01:20:19,441
Please, open up!
949
01:20:22,322 --> 01:20:25,801
I experimented
with a writing style I'd never tried.
950
01:20:26,282 --> 01:20:29,720
He wrote music in scores, in strips.
951
01:20:34,682 --> 01:20:39,241
Musicians in the studio
improvised on Ennio's outline,
952
01:20:39,362 --> 01:20:40,880
he was playing the trumpet...
953
01:20:45,921 --> 01:20:49,400
Based on what was happening on-screen
954
01:20:49,401 --> 01:20:52,760
he pointed to the number
of the strip to be played
955
01:20:52,962 --> 01:20:55,040
by a specific musician.
956
01:20:55,202 --> 01:20:57,800
So I have him start, then I have her start,
957
01:20:58,002 --> 01:21:00,200
and everyone needs
to have their instrument ready
958
01:21:00,441 --> 01:21:03,361
to start at any time,
because it's not written.
959
01:21:03,522 --> 01:21:06,361
So when a director would say,
''That's good'',
960
01:21:07,122 --> 01:21:09,481
I couldn't do it the same way again.
961
01:21:09,962 --> 01:21:14,480
This allowed me to do
the unexpected in movies.
962
01:21:29,162 --> 01:21:31,801
After the third movie,
Salvatore, Dario's father,
963
01:21:31,881 --> 01:21:34,400
said to me: ''What are you doing?
It's all the same music.''
964
01:21:34,602 --> 01:21:36,761
He said:.''You made
the same music for three movies.''
965
01:21:36,921 --> 01:21:37,921
It wasn't true.
966
01:21:38,121 --> 01:21:41,041
Ennio defended himself saying:
''I don't make the same music.''
967
01:21:41,241 --> 01:21:42,601
But it seemed the same.
968
01:21:42,842 --> 01:21:49,121
Because dissonant music
destabilises the senses.
969
01:21:50,282 --> 01:21:53,426
But I applied this idea to other movies.
970
01:21:53,546 --> 01:21:56,778
and got to the 23rd multiple score.
971
01:21:56,961 --> 01:22:00,680
Maybe at a certain point
he overdid it a little.
972
01:22:00,962 --> 01:22:04,361
He start receiving his first rejections
or warnings, because they told him:
973
01:22:04,562 --> 01:22:08,081
''Ennio, if you keep writing like this,
you won't have a job anymore.''
974
01:22:08,601 --> 01:22:10,841
Obviously I changed my writing style.
975
01:22:23,922 --> 01:22:26,081
Morricone was already a myth.
976
01:22:26,402 --> 01:22:31,400
Joan Baez was one
of the greatest symbols of American youth.
977
01:22:31,722 --> 01:22:33,961
Ennio speaks English, sort of,
978
01:22:34,161 --> 01:22:36,521
and Baez speaks Italian, sort of,
979
01:22:37,322 --> 01:22:40,721
but music is a universal language.
980
01:22:56,721 --> 01:23:00,161
She sang on a temporary piano and drums,
981
01:23:00,321 --> 01:23:04,040
so I put the orchestra over her voice.
982
01:23:04,281 --> 01:23:05,761
And she told me:
983
01:23:05,882 --> 01:23:08,641
''Nobody, not knowing me directly,
984
01:23:08,721 --> 01:23:15,041
could have written to this exact point
of my best vocal range.''
985
01:23:15,122 --> 01:23:16,561
She said: ''It's a miracle.''
986
01:24:07,002 --> 01:24:10,280
That song soon became a hit
987
01:24:10,362 --> 01:24:14,360
and we kept asking ourselves:
''Why? How was this possible?''
988
01:24:40,682 --> 01:24:43,001
The fact that my melodies were successful
989
01:24:43,202 --> 01:24:48,841
doesn't mean that I was wrong
to be against the traditional melody.
990
01:24:49,242 --> 01:24:52,721
I think that we are
out of melodic combinations.
991
01:24:53,042 --> 01:24:56,720
Supposedly, Ennio Morricone
doesn't love melody.
992
01:24:56,802 --> 01:24:57,761
He said so.
993
01:24:57,962 --> 01:25:02,561
But he is a musician
with a very strong melodic vein,
994
01:25:02,961 --> 01:25:06,521
that comes out
the more he tries to suppress it.
995
01:25:09,602 --> 01:25:14,600
Melody? Someone who is so good
at creating it can't despise it.
996
01:25:15,042 --> 01:25:15,961
He's lying.
997
01:25:20,282 --> 01:25:26,401
But maybe, it's in what we could
playfully call composer schizophrenia,
998
01:25:26,721 --> 01:25:31,520
that lies that totally different spark.
999
01:25:48,762 --> 01:25:52,640
One of his rules is
strictness applied to creation,
1000
01:25:52,746 --> 01:25:56,010
and the fact that he plays chess proves it.
1001
01:25:56,361 --> 01:25:59,161
I mean, he lives
in a mathematical, geometrical world.
1002
01:25:59,361 --> 01:26:03,121
It's an almost transcendental,
spiritual approach.
1003
01:26:43,442 --> 01:26:49,361
His pieces with the greatest impact
play on an exhausting tension,
1004
01:26:50,042 --> 01:26:54,001
whose resolution is
almost ecstatic for the viewer.
1005
01:26:54,282 --> 01:26:59,521
I myself had to give up
on listening analytically
1006
01:27:00,042 --> 01:27:02,600
and just let go.
1007
01:27:16,722 --> 01:27:21,281
His music makes each of us feel
like it was secretly written for us.
1008
01:27:21,561 --> 01:27:24,320
Why do people remember Morricone's music?
1009
01:27:24,522 --> 01:27:31,121
Because when you listen to it
you can't forget it.
1010
01:27:44,882 --> 01:27:48,121
My head is full of music,
something I will have to write,
1011
01:27:48,201 --> 01:27:50,681
then I get an interesting, important idea.
1012
01:27:50,802 --> 01:27:54,440
So I often seem reserved,
like someone who doesn't like to talk.
1013
01:27:54,642 --> 01:27:57,560
He's an extremely timid person,
1014
01:27:57,842 --> 01:28:00,641
with a profound determination.
1015
01:28:00,801 --> 01:28:06,440
So speaking to him about music is
to speak with the abyss inside him.
1016
01:28:12,642 --> 01:28:14,801
He believes in his music,
1017
01:28:14,922 --> 01:28:17,441
that it's never a servant to the image.
1018
01:28:17,562 --> 01:28:20,240
In fact, Ennio says:
''I am like a chameleon,
1019
01:28:20,481 --> 01:28:23,201
I change colour depending
on the director I work with,
1020
01:28:23,361 --> 01:28:26,081
but I am always myself.''
1021
01:28:26,322 --> 01:28:29,281
I think that he always tried to understand
1022
01:28:29,361 --> 01:28:32,881
the director he was with
and then work on their soul.
1023
01:28:33,122 --> 01:28:37,040
In this respect,
Ennio was a good psychologist,
1024
01:28:37,362 --> 01:28:40,681
because to be able to deal
with personalities which were so complex
1025
01:28:40,842 --> 01:28:44,161
and sometimes so troubled,
you have to be a very good psychologist.
1026
01:28:47,121 --> 01:28:49,561
With Pasolini
and the other directors he worked with
1027
01:28:50,001 --> 01:28:52,921
he always found a way to express himself.
1028
01:28:53,162 --> 01:28:54,881
He is truly a dictionary.
1029
01:28:55,202 --> 01:28:59,000
If ten good composers
work with the same director
1030
01:28:59,802 --> 01:29:02,281
and write for the same movie,
1031
01:29:02,642 --> 01:29:05,081
they will all write very different music.
1032
01:29:05,402 --> 01:29:07,961
This dramatic reasoning means
1033
01:29:08,322 --> 01:29:10,681
how difficult it is to write movie scores.
1034
01:29:11,082 --> 01:29:13,081
Because if there are that many solutions,
1035
01:29:13,682 --> 01:29:15,961
the hardest part of a composer's job is:
1036
01:29:16,082 --> 01:29:18,481
what is the right music,
which one fits the best?
1037
01:29:19,041 --> 01:29:22,721
This is the composer's agony.
1038
01:29:29,162 --> 01:29:32,840
For ''Allonsanfan'' we said:
''Ennio, in the end there's a dance.
1039
01:29:32,961 --> 01:29:35,161
We need music for shooting that.''
1040
01:29:35,322 --> 01:29:38,000
He did the accompaniment for us.
1041
01:29:43,002 --> 01:29:44,681
And we liked it very much.
1042
01:29:48,602 --> 01:29:51,601
So we thought that accompaniment
was the music of the dance.
1043
01:29:52,641 --> 01:29:54,800
And they shot the movie
with that rythm.
1044
01:29:54,962 --> 01:29:56,240
But when we edit a movie,
1045
01:29:56,322 --> 01:29:58,280
we can't proceed without music.
1046
01:29:58,442 --> 01:30:00,641
So we put together the most varied music,
1047
01:30:00,762 --> 01:30:03,200
the most diverse musicians.
1048
01:30:03,522 --> 01:30:09,560
Then Ennio came to see the editing and said:
''That's good, but why am I here?''
1049
01:30:09,882 --> 01:30:10,841
And he left.
1050
01:30:10,962 --> 01:30:13,400
To imitate the others music.
1051
01:30:13,682 --> 01:30:17,041
I didn't like not being able
to think by myself.
1052
01:30:17,121 --> 01:30:18,320
I never liked it.
1053
01:30:18,482 --> 01:30:20,881
We ran down the stairs.
1054
01:30:21,201 --> 01:30:22,961
''No, you have to do it.''
1055
01:30:23,241 --> 01:30:24,680
''I'm not doing it.''
1056
01:30:24,762 --> 01:30:27,841
Eventually I accepted,
but I'll create the music by myself.
1057
01:30:37,521 --> 01:30:40,721
When we were in the recording studio
for the final dance,
1058
01:30:40,802 --> 01:30:43,201
Ennio said: ''I prepared a melody for you.''
1059
01:30:43,281 --> 01:30:48,680
''No! We don't want a melody.
We like it like this, Ennio.''
1060
01:30:49,922 --> 01:30:50,921
''Just listen.''
1061
01:30:55,401 --> 01:30:58,160
We jumped on him,
because it was even better.
1062
01:31:04,682 --> 01:31:06,041
The director oversees everything:
1063
01:31:06,122 --> 01:31:09,041
screenplay, set designs, costumes,
1064
01:31:09,122 --> 01:31:12,241
acting, lights, framing.
1065
01:31:12,362 --> 01:31:13,681
But not the music.
1066
01:31:25,041 --> 01:31:30,121
He sat at the piano
and did the melody with his voice...
1067
01:31:40,562 --> 01:31:44,120
I have a bad voice,
it's definitely not good.
1068
01:31:44,322 --> 01:31:47,600
He played some music for me on the piano,
but I didn't understand a thing.
1069
01:31:47,841 --> 01:31:51,721
The film director couldn't know
the orchestration I'm going to do.
1070
01:31:51,882 --> 01:31:56,801
I didn't dare doubt
what Morricone improvised at the piano,
1071
01:31:56,961 --> 01:32:00,920
I knew that that sound
would become strings, winds.
1072
01:32:01,122 --> 01:32:06,800
A director can't understand
the final result from a description.
1073
01:32:06,921 --> 01:32:09,761
You cannot describe music,
it needs to be listened to.
1074
01:32:25,842 --> 01:32:29,681
Some movies inspired me straight away
1075
01:32:29,802 --> 01:32:32,201
to write a certain music, of a certain type.
1076
01:32:49,442 --> 01:32:53,401
During the first screening of ''1900'',
a rough cut,
1077
01:32:53,961 --> 01:32:56,360
Ennio started
writing the theme immediately.
1078
01:32:56,522 --> 01:33:00,881
It was dark, I happened to have a piece
of paper and I started writing notes.
1079
01:33:06,321 --> 01:33:07,640
I wrote that.
1080
01:33:45,081 --> 01:33:50,120
It seemed like he created,
with music, a parallel movie.
1081
01:34:01,401 --> 01:34:05,240
Ennio moves inside the music.
1082
01:34:05,442 --> 01:34:08,041
There's nothing he cannot give you.
1083
01:34:08,762 --> 01:34:11,240
If, while he's recording, you say to him:
1084
01:34:11,322 --> 01:34:15,721
''Why don't you make this
into a piece that resembles Verdi?
1085
01:34:16,002 --> 01:34:19,081
His talent instanty gushes out.
1086
01:34:21,242 --> 01:34:26,641
He can instantly create a song like Verdi
and you wonder what opera it's from.
1087
01:34:26,762 --> 01:34:27,641
But it's not an opera.
1088
01:34:29,202 --> 01:34:30,080
It's Ennio.
1089
01:34:40,881 --> 01:34:43,841
''1900'' received heavy criticism
1090
01:34:44,442 --> 01:34:47,561
and someone faulted the music too.
1091
01:34:47,762 --> 01:34:49,801
Zurlini called me and said:
1092
01:34:49,881 --> 01:34:51,841
''I will write an article in your defence.''
1093
01:34:51,921 --> 01:34:53,761
It was really nice of him.
1094
01:35:11,162 --> 01:35:14,681
The Tartars are the dreams
of youth that are lost.
1095
01:35:14,762 --> 01:35:20,600
At a certain point Zurlini wanted
to hear the themes so I played with the piano...
1096
01:35:28,562 --> 01:35:31,241
And he went: ''That's enough, it's good.''
1097
01:35:33,081 --> 01:35:36,121
It's incredible not knowing
how the theme developed,
1098
01:35:36,201 --> 01:35:39,121
not even the orchestration,
he knew nothing.
1099
01:35:39,282 --> 01:35:41,960
But when a director trusts you,
he trusts you.
1100
01:36:03,921 --> 01:36:04,921
Farewell, Drogo.
1101
01:36:05,042 --> 01:36:07,400
I invented the piece
with the five war trumpets
1102
01:36:07,602 --> 01:36:10,760
that suggested that an army was coming
1103
01:36:11,241 --> 01:36:12,440
but didn't.
1104
01:36:23,882 --> 01:36:26,321
The last time that I played the trumpet
1105
01:36:26,481 --> 01:36:29,441
was when Gillo Pontecorvo
got married at the Campidoglio.
1106
01:36:29,682 --> 01:36:32,401
He asked me if I could
play the wedding march.
1107
01:36:32,601 --> 01:36:37,160
I took the trumpet, even though I hadn't
practised in a long time, and played...
1108
01:36:40,641 --> 01:36:42,920
On the trumpet.
He was very happy.
1109
01:37:00,882 --> 01:37:03,961
Terrence Malick was
an important director for me.
1110
01:37:04,185 --> 01:37:06,023
I went to watch the movie
1111
01:37:06,185 --> 01:37:10,024
and when I got back to Italy
I wrote 18 ideas.
1112
01:37:37,785 --> 01:37:39,704
When we analysed the movie,
1113
01:37:39,984 --> 01:37:43,064
he had me create a piece
that was really important to me.
1114
01:37:43,545 --> 01:37:45,503
It was a kind of symphony of fire.
1115
01:38:01,625 --> 01:38:06,184
I never had an epistolary relationship
like the one I had with him.
1116
01:38:34,145 --> 01:38:36,904
A movie musician has
to be able to do anything,
1117
01:38:37,344 --> 01:38:39,104
from symphonies to popular songs.
1118
01:38:45,105 --> 01:38:48,263
Listen, honey,
all you had to do, did you do it?
1119
01:38:48,465 --> 01:38:49,984
Sergio Leone produced my first movies.
1120
01:38:50,105 --> 01:38:52,943
During the production
of ''Un Sacco Bello'', Leone told him:
1121
01:38:53,145 --> 01:38:55,424
''You should do something like Titina,
1122
01:38:55,505 --> 01:38:58,424
but sweeter, more like Chaplin.''
1123
01:38:59,985 --> 01:39:03,623
Morricone said: ''Listen, it's better
if you just give me the screenplay.
1124
01:39:03,744 --> 01:39:05,704
I'll read it and get a sense of it.''
1125
01:39:05,904 --> 01:39:07,904
Maestro, what do you want me to do for you?
1126
01:39:07,985 --> 01:39:09,584
And he answered: ''Love, love.''
1127
01:39:09,945 --> 01:39:11,384
We went back two days later.
1128
01:39:11,705 --> 01:39:13,864
Morricone played five or six notes.
1129
01:39:20,465 --> 01:39:21,824
Leone said to Morricone:
1130
01:39:22,185 --> 01:39:24,064
''See? I gave you a good tip.''
1131
01:39:24,144 --> 01:39:27,143
''But that's Titina,
what does Titina have to do with this?''
1132
01:39:27,264 --> 01:39:28,744
''No, but it's around there.''
1133
01:39:31,665 --> 01:39:33,784
I remember when Morricone came
and Leone said:
1134
01:39:34,665 --> 01:39:40,624
''I want that pan flute all over the movie.''
1135
01:39:48,585 --> 01:39:51,743
Morricone replied:
''We will use it where it's right, Sergio.
1136
01:39:52,224 --> 01:39:54,344
You can't put the pan flute on everything.''
1137
01:39:54,465 --> 01:39:55,784
''But the pan flute is...''
1138
01:39:55,865 --> 01:39:58,103
''Let me take care of putting
the pan flute to good use.''
1139
01:40:10,224 --> 01:40:13,024
Ennio and Sergio were partners in life.
1140
01:40:13,104 --> 01:40:17,144
Sergio went to him to tell him
about the movies he wanted to write.
1141
01:40:27,945 --> 01:40:33,023
The collaboration with Sergio began
when he described the movie to me.
1142
01:40:53,265 --> 01:40:58,463
He described it to me in great detail,
even explaining the framing.
1143
01:41:02,904 --> 01:41:05,504
I think that my father
depended on Ennio's music,
1144
01:41:05,705 --> 01:41:09,584
and wanted his movies to depend on music.
1145
01:41:37,464 --> 01:41:43,024
The music in my father's movies
was much more than a soundtrack.
1146
01:41:43,104 --> 01:41:45,263
It essentially was the dialogue of the movie.
1147
01:41:52,745 --> 01:41:56,783
Often Sergio made me
start writing some musical themes
1148
01:41:57,065 --> 01:41:58,664
before he started filming.
1149
01:41:58,944 --> 01:42:03,023
I remember Ennio playing the music
from ''Once Upon a Time in America''
1150
01:42:03,185 --> 01:42:06,743
many years before the movie was made.
1151
01:42:07,104 --> 01:42:11,224
During those years, Sergio had many doubts
1152
01:42:11,505 --> 01:42:14,543
and sometimes he asked:
''Let me hear the other theme.''
1153
01:42:41,304 --> 01:42:44,183
It was a theme made of silences and pauses...
1154
01:42:44,304 --> 01:42:46,064
things that I love.
1155
01:42:50,225 --> 01:42:53,384
It is a theme that I wrote, in America,
1156
01:42:53,625 --> 01:42:56,704
for the movie ''Endless Love'' by Zeffirelli.
1157
01:42:56,945 --> 01:42:58,664
For a certain scene, he told me:
1158
01:42:58,745 --> 01:43:01,703
''Here there is a song written
by another composer.''
1159
01:43:01,905 --> 01:43:05,384
So I refused to make that movie,
because it had a song by someone else.
1160
01:43:05,544 --> 01:43:08,224
-And I'm not okay with that.
-Dad often asked Ennio
1161
01:43:08,385 --> 01:43:12,023
to bring him even the discarded themes.
The unused ones.
1162
01:43:12,185 --> 01:43:16,463
I made him listen to Zeffirelli's theme
which became Deborah's theme.
1163
01:43:16,625 --> 01:43:18,184
He loved it.
1164
01:43:18,345 --> 01:43:20,504
And I must say, I still like it too.
1165
01:44:10,944 --> 01:44:12,224
Without that music...
1166
01:44:12,665 --> 01:44:14,024
I couldn't imagine it any other way.
1167
01:44:14,265 --> 01:44:17,783
If had to see the movie
without hearing that music...
1168
01:44:21,825 --> 01:44:26,783
Leone wanted Ennio's music
to echo during the filming.
1169
01:44:27,024 --> 01:44:31,103
And that even the speakers
would spread Ennio's music.
1170
01:44:31,305 --> 01:44:33,544
The actors shot their scenes
with the background music.
1171
01:44:33,665 --> 01:44:37,336
On set there was
Morricone's music. It was crazy.
1172
01:44:37,865 --> 01:44:38,824
Camera.
1173
01:44:38,945 --> 01:44:42,064
Ready, mark, 144, 18 take one.
1174
01:44:48,905 --> 01:44:49,904
Action.
1175
01:44:51,425 --> 01:44:53,744
Listening the music on shooting
affected everybody.
1176
01:44:53,945 --> 01:44:56,063
It affected the actors, the crew.
1177
01:45:01,785 --> 01:45:04,343
You feel like you've already,
1178
01:45:04,704 --> 01:45:07,223
I wouldn't say
watched the movie, but felt it.
1179
01:45:10,545 --> 01:45:15,304
Great actors such as De Niro,
who are very attentive to live recording
1180
01:45:19,584 --> 01:45:24,184
with the background music, said:
''I keep the music, it helps me''.
1181
01:45:38,705 --> 01:45:42,584
In the field of high-brow music,
Ennio Morricone
1182
01:45:42,744 --> 01:45:46,864
was a familiar name
but it didn't arouse any particular interest.
1183
01:45:47,105 --> 01:45:49,064
But that was my world.
1184
01:45:49,425 --> 01:45:53,104
The great academic musicians
of the previous generation
1185
01:45:53,225 --> 01:45:56,744
have struggled to recognise
Ennio Morricone's talent.
1186
01:45:56,985 --> 01:46:01,384
In this sense, the definitive revelation
was ''Once Upon a Time in America''.
1187
01:46:01,665 --> 01:46:06,743
This music cannot be written
by someone who isn't deeply a musician.
1188
01:46:16,745 --> 01:46:20,063
Here, his music
fascinated me on a higher level.
1189
01:46:20,184 --> 01:46:24,263
It's a music that doesn't
pass over things superficially.
1190
01:46:24,624 --> 01:46:26,704
But it gets inside, it creates them.
1191
01:46:27,105 --> 01:46:30,664
And when I realised that,
then I understood Morricone too.
1192
01:46:30,984 --> 01:46:32,063
Not before.
1193
01:46:32,784 --> 01:46:35,783
Boris Porena wrote to Ennio
a letter of apology.
1194
01:46:36,144 --> 01:46:39,664
But it wasn't an apology to Morricone.
It was an apology to a historical period
1195
01:46:39,945 --> 01:46:41,504
to himself, to...
1196
01:46:42,264 --> 01:46:44,464
for not being able to grasp it,
1197
01:46:44,705 --> 01:46:48,344
for being so blind, so deaf
in the face of the power of ideology.
1198
01:46:48,465 --> 01:46:51,863
He belonged to another world.
Essentially, he had snubbed him.
1199
01:46:52,224 --> 01:46:56,543
And it took some time
before many of them...
1200
01:46:58,344 --> 01:47:01,264
would bow... to his genius.
1201
01:47:01,745 --> 01:47:04,424
When I read this letter to Ennio,
1202
01:47:04,704 --> 01:47:06,064
he stood up
1203
01:47:06,545 --> 01:47:09,263
and he cried. Liberated, in a way.
1204
01:47:09,504 --> 01:47:14,063
I remember when I came out
of the movie, I said: ''Damn...
1205
01:47:15,225 --> 01:47:16,823
there is something here
1206
01:47:17,345 --> 01:47:22,583
that goes beyond what we normally think of
as music for movies.''
1207
01:48:11,825 --> 01:48:16,304
I was grieving over the massacre
of the Indians and the Jesuits.
1208
01:48:16,425 --> 01:48:18,983
But the movie was so beautiful,
without music.
1209
01:48:19,505 --> 01:48:20,744
I could only ruin it.
1210
01:48:20,865 --> 01:48:23,783
''You don't need music for this movie''.
1211
01:48:23,945 --> 01:48:25,184
''No, impossible!
1212
01:48:33,065 --> 01:48:35,824
''The Mission'' comes at a particular time
in Ennio's life
1213
01:48:35,945 --> 01:48:38,704
in which he decided to leave film music.
1214
01:48:39,024 --> 01:48:40,864
And this movie comes along by surprise
1215
01:48:41,025 --> 01:48:43,144
in his existential decision.
1216
01:48:56,544 --> 01:48:58,144
''This is Ennio''
1217
01:48:59,505 --> 01:49:00,743
''I thought...
1218
01:49:01,425 --> 01:49:03,983
I have a little idea''.
1219
01:49:30,345 --> 01:49:33,824
It's very strange, my behaviour
in writing ''The Mission''.
1220
01:49:33,984 --> 01:49:35,303
I almost didn't control it.
1221
01:49:35,465 --> 01:49:37,784
I wrote this music
without controlling myself.
1222
01:49:38,064 --> 01:49:40,024
For a piece of absolute music
1223
01:49:40,145 --> 01:49:42,784
Ennio could even write for a year.
1224
01:49:42,864 --> 01:49:46,304
And a score like ''The Mission''
two months.
1225
01:49:46,505 --> 01:49:50,144
Here, this is another example
of Ennio's secret rooms.
1226
01:49:50,225 --> 01:49:54,784
I mean, you're seeing
something pretty phenomenal.
1227
01:49:55,505 --> 01:49:57,584
I first wrote the oboe theme.
1228
01:49:57,825 --> 01:50:00,784
But since the movie takes place in 1750
1229
01:50:00,945 --> 01:50:03,544
I was also influenced
by the ornamentations of the time.
1230
01:50:03,624 --> 01:50:06,424
The double mordent, the double gruppetto
1231
01:50:06,545 --> 01:50:09,503
the acciaccatura, the appoggiatura.
All these elements
1232
01:50:09,665 --> 01:50:11,423
that enriched the melody.
1233
01:50:13,104 --> 01:50:14,144
Mordent...
1234
01:50:25,025 --> 01:50:26,063
Acciaccatura..
1235
01:50:27,665 --> 01:50:28,624
The mordents.
1236
01:50:44,145 --> 01:50:49,223
And it seemed right
to give the film a motet.
1237
01:50:49,464 --> 01:50:52,823
Following the rules
of the Second Vatican Council.
1238
01:51:26,945 --> 01:51:28,064
And then..
1239
01:51:28,505 --> 01:51:32,744
the ethnic theme of the Indians...
a primitive music.
1240
01:51:32,904 --> 01:51:35,663
So within the motet
1241
01:51:35,945 --> 01:51:37,943
I wrote another theme,
1242
01:51:38,225 --> 01:51:39,104
a rhythmic one.
1243
01:52:18,545 --> 01:52:20,224
The amazing thing
1244
01:52:20,505 --> 01:52:22,304
is that the oboe theme
1245
01:52:22,584 --> 01:52:24,304
was combined with the motet.
1246
01:52:25,265 --> 01:52:28,424
The theme of the motet
was combined with the ethnic part.
1247
01:52:28,745 --> 01:52:31,424
The ethnic part
could be combined with the oboe theme.
1248
01:52:31,665 --> 01:52:34,103
So all three themes
could be combined together.
1249
01:52:34,505 --> 01:52:36,263
All of this happened unintentionally.
1250
01:52:36,465 --> 01:52:38,144
Almost as if there was something
1251
01:52:39,305 --> 01:52:42,704
that suggested it to me,
the music... its logic.
1252
01:55:24,305 --> 01:55:25,664
Herbie Hancock.
1253
01:55:25,985 --> 01:55:30,064
Good jazz musician, good composer,
good pianist. I don't dispute that.
1254
01:55:36,785 --> 01:55:39,623
But the main character
played existing pieces.
1255
01:55:39,864 --> 01:55:42,544
So the music was half repertoire
1256
01:55:42,744 --> 01:55:45,664
and should not have been
in Original Music category.
1257
01:55:46,104 --> 01:55:49,264
In fact, when the Oscar was announced
1258
01:55:49,505 --> 01:55:51,064
the audience protested.
1259
01:55:51,984 --> 01:55:54,143
I left quickly.
1260
01:56:00,984 --> 01:56:04,424
He was the best.
Everybody knew he was the best.
1261
01:56:04,545 --> 01:56:07,943
However, he didn't get
the recognitions he deserved.
1262
01:56:08,184 --> 01:56:09,904
Because ultimately,
they didn't understand him.
1263
01:56:10,145 --> 01:56:12,623
You switch between movie music
1264
01:56:12,785 --> 01:56:14,864
and chamber music compositions.
1265
01:56:14,985 --> 01:56:18,344
I've been increasing this activity
for a while now.
1266
01:56:18,624 --> 01:56:20,944
I'd given it up for the movies
but now I'm doing it again.
1267
01:56:21,144 --> 01:56:23,783
Also because I don't want to die
only working for the cinema.
1268
01:56:24,225 --> 01:56:26,104
For years up to now
1269
01:56:26,225 --> 01:56:29,824
he also worked as a composer
of cultured music.
1270
01:56:30,065 --> 01:56:35,663
With compositions of great value,
of a high artistic and aesthetic level.
1271
01:56:36,545 --> 01:56:40,304
Petrassi was in the front row
at one of Ennio's concerts.
1272
01:56:40,545 --> 01:56:43,984
And seeing Ennio so respectful
1273
01:56:44,265 --> 01:56:48,904
of his master, it was clear
that he'd never really cut the umbilical cord.
1274
01:56:58,785 --> 01:57:03,344
When producer Franco Cristaldi called him
to offer him ''Cinema Paradiso'',
1275
01:57:03,624 --> 01:57:05,264
Ennio at first said no.
1276
01:57:05,345 --> 01:57:09,704
Franco called me back shortly after.
He said: ''Read the script.
1277
01:57:10,505 --> 01:57:11,903
And then you'll tell me''.
1278
01:57:12,384 --> 01:57:13,943
The house phone rang.
1279
01:57:14,265 --> 01:57:16,463
''I am Ennio Morricone, can we meet?''
1280
01:57:18,185 --> 01:57:19,304
Please.
1281
01:57:21,945 --> 01:57:23,944
I went there, very excited.
1282
01:57:29,184 --> 01:57:34,024
He asked me if I wanted
Sicilian music, folk music.
1283
01:57:34,265 --> 01:57:36,263
I didn't think about anything like that.
1284
01:57:36,465 --> 01:57:37,904
Then he looked at me
1285
01:57:38,385 --> 01:57:40,223
and he said: ''I'll do the movie''.
1286
01:57:46,584 --> 01:57:48,064
It was ''Cinema Paradiso''.
1287
01:57:48,825 --> 01:57:50,663
And I thoroughly enjoyed doing it.
1288
01:58:04,265 --> 01:58:05,704
It was a life lesson.
1289
01:58:05,945 --> 01:58:09,824
Because Ennio treated me as an equal,
and I was just a newcomer.
1290
01:58:10,145 --> 01:58:14,024
While he already done
350 of his 500 films.
1291
01:58:16,145 --> 01:58:18,263
And the more he sought
to get away from the cinema
1292
01:58:20,265 --> 01:58:21,784
the more the cinema pursued him.
1293
01:58:24,864 --> 01:58:26,264
For the ''Untouchables'',
1294
01:58:26,424 --> 01:58:30,944
I wrote all the themes in New York
and De Palma was always enthusiastic.
1295
01:58:31,145 --> 01:58:33,104
The last day when we had to say goodbye
1296
01:58:33,225 --> 01:58:36,224
he surprises me and says:
''I need a triumphal piece for the police''.
1297
01:58:36,545 --> 01:58:39,104
I say: ''All right, I'll write it in Rome
and then I'll send it to you''.
1298
01:58:42,264 --> 01:58:45,143
I sent him nine demos,
with a letter where I said:
1299
01:58:45,305 --> 01:58:47,104
''Please don't choose number six.
1300
01:58:47,585 --> 01:58:49,583
Because it's really
the one I like the least''.
1301
01:58:50,465 --> 01:58:52,343
Which did he choose? Number six.
1302
01:59:12,105 --> 01:59:14,104
Ennio's greatness stems from
1303
01:59:14,304 --> 01:59:17,144
not only the music
he writes for a certain scene,
1304
01:59:17,544 --> 01:59:20,624
but also his approach to the scene.
1305
01:59:43,425 --> 01:59:47,063
When he represents violence,
he doesn't match the image.
1306
01:59:47,145 --> 01:59:48,743
He's totally detached.
1307
01:59:48,905 --> 01:59:53,063
Hi ability lies
in showing you another point of view.
1308
02:00:03,705 --> 02:00:08,104
With the scene at the station,
I decided to put in waltz.
1309
02:00:18,185 --> 02:00:21,344
This waltz with the carillon,
gave me the chance
1310
02:00:21,504 --> 02:00:27,424
to slightly change
the very tense development of the scene.
1311
02:00:31,905 --> 02:00:33,784
De Palma did not agree.
1312
02:00:34,065 --> 02:00:36,904
But, as many directors do, he accepted it.
1313
02:00:41,664 --> 02:00:45,263
A few months later I got
a statement he made in a newspaper.
1314
02:00:45,465 --> 02:00:48,184
Saying that my choice was right,
and he had...
1315
02:00:49,464 --> 02:00:50,543
criticised it.
1316
02:00:53,385 --> 02:00:56,624
Giving me great satisfaction
and great professional honesty.
1317
02:01:07,944 --> 02:01:10,864
Ennio Morricone got
the nomination for the third time.
1318
02:01:10,985 --> 02:01:13,024
for this film by De Palma.
1319
02:01:13,145 --> 02:01:17,144
-Are you excited, Maestro.
-I don't get so excited about it anymore.
1320
02:01:17,304 --> 02:01:21,304
By the third time, I'm used to it.
In fact, I'm sure I won't get it.
1321
02:01:30,504 --> 02:01:32,183
Why do I like chess?
1322
02:01:32,304 --> 02:01:35,104
Because it teaches the struggle of life.
1323
02:01:35,424 --> 02:01:37,384
The sense of resistance.
1324
02:01:37,584 --> 02:01:39,304
The desire to improve.
1325
02:01:39,425 --> 02:01:42,824
Resistance to contrary things
like what comes from the opponent.
1326
02:01:43,025 --> 02:01:45,704
Who tries to win and I try to win.
1327
02:01:45,945 --> 02:01:47,423
In a non-bloody way.
1328
02:02:22,185 --> 02:02:24,064
He wanted me to do the same thing again.
1329
02:02:54,905 --> 02:02:58,144
The problem is that Ennio,
compared to us directors and editors,
1330
02:02:58,464 --> 02:03:02,224
has a more interesting capacity
for interpreting cinema than we do.
1331
02:03:02,424 --> 02:03:03,784
To find an idea right away
1332
02:03:04,224 --> 02:03:06,623
means that is it attached to the movie.
1333
02:03:06,825 --> 02:03:10,343
With the images there's a real marriage,
like love at first sight.
1334
02:03:10,425 --> 02:03:11,704
Sometimes this didn't happen.
1335
02:03:13,704 --> 02:03:15,224
And it was very hard for me.
1336
02:03:16,185 --> 02:03:19,744
During ''Sostiene Pereira'',
he was pretty upset about this movie.
1337
02:03:22,824 --> 02:03:26,584
Ennio says: ''I didn't know
where to turn to find an idea.
1338
02:03:29,865 --> 02:03:32,504
One day, right below Ennio's house
1339
02:03:32,705 --> 02:03:36,023
there was a demonstration
with people banging on drums.
1340
02:03:39,744 --> 02:03:43,223
There was a strike
and I heard the famous percussion...
1341
02:03:47,265 --> 02:03:50,903
I took this beat
and I used it for the whole movie.
1342
02:03:53,424 --> 02:03:55,904
Listen, boy, sit down.
1343
02:03:58,224 --> 02:04:01,664
The Ten Commandments don't say it.
But I say it.
1344
02:04:02,064 --> 02:04:03,464
The reasons of the heart...
1345
02:04:05,345 --> 02:04:06,664
are the most important.
1346
02:04:07,145 --> 02:04:10,384
He takes up the rhythmic formula of '68.
1347
02:04:10,625 --> 02:04:12,383
''Ce n'est qu'un Debut
Continuons le Combat'',
1348
02:04:12,504 --> 02:04:13,624
He transforms it into the framework
of the musical part.
1349
02:04:17,985 --> 02:04:20,104
And it becomes Pereira's determination.
1350
02:04:20,585 --> 02:04:21,983
Those rhythms
1351
02:04:23,664 --> 02:04:24,263
gave him the input to make music
1352
02:04:24,425 --> 02:04:28,744
which contained something... revolutionary.
1353
02:04:34,905 --> 02:04:38,984
I said: ''I'd like a song from that era,''
one I had found. That's when we argued.
1354
02:04:43,145 --> 02:04:45,904
But he was right.
He had created a wonderful song.
1355
02:05:18,345 --> 02:05:21,983
In my opinion,
a score must be meaningful itself
1356
02:05:22,185 --> 02:05:25,624
In order to provide a good service
to the film to which it is applied.
1357
02:05:49,704 --> 02:05:52,583
He can awaken in your soul
1358
02:05:52,745 --> 02:05:55,624
energies you didn't know you had
and that were asleep.
1359
02:06:02,784 --> 02:06:04,624
During the sessions with the orchestra
1360
02:06:04,985 --> 02:06:08,344
he came into the control room
and threw himself on the couch.
1361
02:06:08,664 --> 02:06:12,344
And he could sleep for 20 seconds,
like Napoleon.
1362
02:06:13,824 --> 02:06:15,863
''Do not disturb the Maestro,
he's sleeping''.
1363
02:06:15,984 --> 02:06:18,304
In 20 seconds, he was ready,
and he was back in there.
1364
02:06:18,545 --> 02:06:21,064
Conducting like a lion.
1365
02:06:37,065 --> 02:06:38,543
For ''The Legend of 900''
1366
02:06:38,745 --> 02:06:41,824
he began to compose the themes
while I wrote the script.
1367
02:06:46,065 --> 02:06:49,264
We went hand in hand
constantly consulting each other.
1368
02:06:49,584 --> 02:06:50,744
Even during the shooting.
1369
02:06:53,985 --> 02:06:56,423
It was like, for some mysterious reason,
1370
02:06:56,585 --> 02:07:00,184
Ennio identified
with the character of the young pianist
1371
02:07:00,465 --> 02:07:03,784
who would have never abandoned
the ship of his music.
1372
02:07:58,985 --> 02:08:02,783
On the wave of grief in New York,
Ennio Morricone composed...
1373
02:08:02,945 --> 02:08:07,784
The symphony that Ennio Morricone has dedicated to the tragedy of Sept 11, 2001.
1374
02:08:15,264 --> 02:08:18,863
It was a composition
born under the tragic impact
1375
02:08:19,065 --> 02:08:22,223
of the attack on the Twin Towers.
1376
02:08:22,344 --> 02:08:25,583
In memory of all the massacres
in human history.
1377
02:08:56,265 --> 02:08:57,665
A big orchestra
1378
02:08:57,905 --> 02:09:00,944
a choir, someone who says a few words
1379
02:09:01,185 --> 02:09:03,263
and these tapes of ethnic music.
1380
02:09:03,705 --> 02:09:05,663
Look how many disciplines are together.
1381
02:09:10,584 --> 02:09:13,744
Listening to that music, I felt
1382
02:09:14,025 --> 02:09:16,424
everything we saw in our homes
1383
02:09:16,704 --> 02:09:19,264
during what was happening in New York.
1384
02:09:27,144 --> 02:09:32,663
He knows how to express
the feelings he feels inside,
1385
02:09:32,825 --> 02:09:35,584
through the music staff, like nobody else.
1386
02:09:44,345 --> 02:09:46,943
I don't regret writing music for cinema.
1387
02:09:47,184 --> 02:09:50,543
If anything, I came gradually
1388
02:09:50,865 --> 02:09:54,224
to find convergences
between absolute music and film music.
1389
02:09:55,944 --> 02:09:57,184
One rubbed off on the other.
1390
02:10:00,785 --> 02:10:04,144
These convergences, even in concept,
1391
02:10:04,464 --> 02:10:06,584
are fundamental and important in my life.
1392
02:10:14,424 --> 02:10:15,904
At a certain point
1393
02:10:17,225 --> 02:10:20,104
the two souls... met.
1394
02:10:57,624 --> 02:10:59,584
I want to thank the Academy
1395
02:11:00,744 --> 02:11:05,704
for this honour you've given me.
Giving me this coveted award.
1396
02:11:14,705 --> 02:11:17,704
I dedicate this Oscar
to my wife Maria who loves me very much.
1397
02:11:17,825 --> 02:11:19,823
She's been there for me all these years.
1398
02:11:20,424 --> 02:11:22,223
And I love her the same way.
1399
02:11:22,424 --> 02:11:24,823
This award is for her, too.
1400
02:11:48,344 --> 02:11:50,383
At the Royal Albert Hall in London
1401
02:11:50,664 --> 02:11:53,824
as soon as he came on stage,
the whole audience stood up
1402
02:11:53,984 --> 02:11:58,303
and gave him a really long applause.
It gives you goosebumps.
1403
02:12:09,824 --> 02:12:11,863
It's an honour for Italy in the world.
1404
02:12:11,984 --> 02:12:14,863
Truly a giant, an extraordinary artist
1405
02:12:15,264 --> 02:12:16,343
The Maestro
1406
02:12:16,865 --> 02:12:18,784
Ennio Morricone.
1407
02:12:56,384 --> 02:13:00,943
There really isn't any place in the world,
from South America to Asia,
1408
02:13:01,104 --> 02:13:04,463
not to mention Europe,
where he is not welcomed...
1409
02:13:05,465 --> 02:13:07,024
in a huge way, like a pop star.
1410
02:13:10,385 --> 02:13:14,303
On the occasion of his 40-year
career Morricone will conduct the...
1411
02:13:14,544 --> 02:13:18,583
I remember one of his
film music concerts in Paris
1412
02:13:18,785 --> 02:13:20,063
with the audience going wild.
1413
02:13:20,225 --> 02:13:23,263
When I went to his dressing room,
I decided to say:
1414
02:13:23,705 --> 02:13:26,183
''Ennio, are you convinced that this
1415
02:13:26,544 --> 02:13:29,263
is the great music of the 20th century,
1416
02:13:29,544 --> 02:13:30,583
tout court?''
1417
02:13:31,904 --> 02:13:34,264
And he said: ''I'm thinking about it''.
1418
02:13:34,625 --> 02:13:38,584
At first I thought that music
applied to cinema was humiliating.
1419
02:13:38,945 --> 02:13:40,504
Then little by little, no.
1420
02:13:41,105 --> 02:13:43,943
In fact, today I think that film music
1421
02:13:44,184 --> 02:13:47,224
is full-fledged contemporary music.
1422
02:13:47,424 --> 02:13:49,823
It was a turning point in maturity.
1423
02:13:50,144 --> 02:13:54,023
He found an impressive artistic youth.
1424
02:14:14,345 --> 02:14:15,304
And he convinced me.
1425
02:14:27,864 --> 02:14:30,064
He brings his musical loves with him.
1426
02:14:30,465 --> 02:14:33,344
The beginning of the fugue
of Stravinsky's ''Symphony of Psalms''.
1427
02:14:47,865 --> 02:14:51,064
Tarantino was obviously
crazy about Leone's movies so
1428
02:14:51,185 --> 02:14:53,224
he probably expected
a different kind of music.
1429
02:15:01,704 --> 02:15:06,224
What could I have written
so as not to travel the same road?
1430
02:15:06,785 --> 02:15:09,424
I wrote a symphony, a true symphony.
1431
02:15:12,785 --> 02:15:16,064
Morricone was a good chess player,
and brought Tarantino to his own turf.
1432
02:15:23,505 --> 02:15:26,464
I felt like I was avenging myself
on the Western movie
1433
02:15:26,625 --> 02:15:29,303
to cut it short with the past.
1434
02:15:52,104 --> 02:15:54,743
Tarantino... is hyperbolic.
1435
02:15:55,065 --> 02:15:57,224
Ennio gave him the answer:
1436
02:15:57,465 --> 02:16:02,183
''To determine if one is Mozart or Beethoven
200 years must pass.''
1437
02:16:02,865 --> 02:16:06,664
When you open a page by Beethoven
1438
02:16:07,065 --> 02:16:08,183
maybe you can't play it.
1439
02:16:09,345 --> 02:16:13,064
But the writing is clear.
With Ennio, everything is clear.
1440
02:16:28,985 --> 02:16:32,864
Chopin, Tchaikovsky
they've endured for so long.
1441
02:16:33,105 --> 02:16:36,023
Why not Ennio Morricone's music scores?
1442
02:16:36,264 --> 02:16:38,144
I agree with Tarantino.
1443
02:16:48,105 --> 02:16:51,184
I think he achieved
an extraordinary position.
1444
02:16:51,504 --> 02:16:55,264
For his ability to look back,
and his ability to look forward.
1445
02:16:55,625 --> 02:16:58,424
To music as it was,
and to music as it will be.
1446
02:17:38,465 --> 02:17:41,423
Ennio taught us how to behave
with one's own legend.
1447
02:17:41,585 --> 02:17:44,423
Something extraordinary happened to him
1448
02:17:44,505 --> 02:17:48,584
to be recognized as a world Maestro,
1449
02:17:48,744 --> 02:17:51,064
at the height of his creativity.
1450
02:17:51,185 --> 02:17:53,144
And that made him a happy composer.
1451
02:17:56,784 --> 02:17:58,744
He deserves that and more.
1452
02:17:58,865 --> 02:18:02,024
Because he's hard-working,
he's a great musician.
1453
02:18:02,625 --> 02:18:03,784
Without acting like an artist.
1454
02:18:06,945 --> 02:18:08,903
We went to do some concerts.
1455
02:18:09,144 --> 02:18:12,344
He was shocked that, in Israel,
1456
02:18:12,545 --> 02:18:14,584
the passport man knew who he was.
1457
02:18:14,945 --> 02:18:21,224
He's not someone with big head,
but by now he's like some kind of icon.
1458
02:18:32,025 --> 02:18:35,384
It is so evident to the people.
1459
02:18:35,664 --> 02:18:37,384
To the people of the world.
1460
02:18:51,185 --> 02:18:52,984
And then they also use
1461
02:18:53,184 --> 02:18:56,663
little themes of mine
within their creations.
1462
02:19:05,664 --> 02:19:08,063
I believe that he has alwa s been ahead
with language.
1463
02:19:08,184 --> 02:19:09,983
In fact, he dictated the language.
1464
02:19:10,865 --> 02:19:14,144
And so he can only be seen
as a precursor.
1465
02:19:22,065 --> 02:19:24,464
He is the precursor of cross-disciplines.
1466
02:19:45,264 --> 02:19:48,544
Ennio's music also grabs the kids.
1467
02:19:59,544 --> 02:20:00,464
He is honest.
1468
02:20:54,785 --> 02:20:57,023
To recreate the colour he wanted
1469
02:20:57,144 --> 02:20:58,984
certain sounds were
1470
02:20:59,265 --> 02:21:01,264
reproduced, sampled
1471
02:21:01,385 --> 02:21:04,463
used in various albums
of pop rock artists.
1472
02:21:46,785 --> 02:21:51,224
They don't deny their personality,
in this mysterious liking
1473
02:21:51,305 --> 02:21:52,744
that they have for my work.
1474
02:22:13,545 --> 02:22:15,023
Without Ennio Morricone
1475
02:22:16,224 --> 02:22:18,023
most of us wouldn't be here.
1476
02:22:18,065 --> 02:22:21,944
Linguistically
we would be different, poorer.
1477
02:22:33,984 --> 02:22:38,783
His lesson is speechless, because
no one ever went to a class by Ennio.
1478
02:22:40,265 --> 02:22:44,104
If you listen to a lot of music,
you always find something Ennio-like.
1479
02:22:44,385 --> 02:22:47,303
Someone who used strings the way he does.
1480
02:22:47,385 --> 02:22:50,264
Piano the way he does. But it's not him.
1481
02:22:50,985 --> 02:22:52,864
He is the music.
1482
02:22:53,064 --> 02:22:56,344
The music that comes out no matter what.
Whatever he writes.
1483
02:22:56,904 --> 02:22:59,984
Maybe even independently
of his consciousness.
1484
02:23:09,585 --> 02:23:12,464
When I did the first film, it was 1961.
1485
02:23:12,705 --> 02:23:16,463
I said to my wife:
''In 1970 I will quit cinema''.
1486
02:23:17,345 --> 02:23:21,944
Then in 1970 I said: ''I'll quit in 1980''.
1487
02:23:22,785 --> 02:23:26,145
In 1980 I said: ''I'll quit in 1990''.
1488
02:23:26,345 --> 02:23:28,744
In 1990 I said: ''I'll quit in 2000''.
1489
02:23:29,904 --> 02:23:31,264
Now, I don't say anything.
1490
02:23:47,505 --> 02:23:50,344
Ennio managed to merge
1491
02:23:50,585 --> 02:23:52,463
prose and poetry.
1492
02:23:57,984 --> 02:23:59,824
It completely disrupted up the mould.
1493
02:24:00,144 --> 02:24:02,663
The normality that becomes exceptional.
1494
02:24:06,945 --> 02:24:11,303
Ennio almost always has an elevation.
Something that makes you think...
1495
02:24:11,424 --> 02:24:12,623
that makes you float.
1496
02:24:25,464 --> 02:24:27,584
Ennio's music transcends
1497
02:24:27,905 --> 02:24:30,464
and so it travels to other galaxies.
1498
02:24:35,745 --> 02:24:39,064
The God of music speaks
through him as if he were possessed.
1499
02:24:50,904 --> 02:24:53,903
His music is... eternal.
1500
02:25:06,185 --> 02:25:08,903
When you start to describe him,
you realize that
1501
02:25:09,144 --> 02:25:10,744
a lifetime would not be enough.
1502
02:25:13,385 --> 02:25:14,704
He will go down in history
1503
02:25:15,105 --> 02:25:17,663
and there will always be Ennio's music.
1504
02:25:29,865 --> 02:25:31,664
He's part of our family.
1505
02:25:32,505 --> 02:25:33,743
He's like a relative.
1506
02:25:49,625 --> 02:25:52,144
Music should be thought
before it is written.
1507
02:25:53,544 --> 02:25:54,824
It's a problem.
1508
02:25:55,625 --> 02:26:00,383
It's a problem that is always there
when you begin a composition.
1509
02:26:01,305 --> 02:26:04,304
And in front of the composer
sits a blank page.
1510
02:26:05,385 --> 02:26:07,504
What do we put down?
1511
02:26:08,304 --> 02:26:09,544
On that page.
1512
02:26:10,065 --> 02:26:11,824
What do we put on that page?
1513
02:26:12,825 --> 02:26:14,663
There's a thought there
1514
02:26:15,024 --> 02:26:16,583
that must be developed
1515
02:26:17,585 --> 02:26:19,103
and it has to go forward.
1516
02:26:20,064 --> 02:26:23,504
In search... of what?
1517
02:26:23,784 --> 02:26:24,944
We don't know.