Arnold Newman | Portraits

Posted: November 4th, 2012 | Author: | Filed under: Architecture, Cinema, Film, Los Angeles, New York City, Painting, Photography, Quotes

Roy Lichtenstein, 1976 © Arnold Newman

Roy Lichtenstein, 1976 © Arnold Newman

If it’s a good photograph and says something about the person, than I think it’s a good portrait.

- Arnold Newman

Piet Mondrian, 1942 © Arnold Newman

Piet Mondrian, 1942 © Arnold Newman

I wasn’t mimicking it (Mondrian’s style), I was echoing it. I did it deliberately and when he saw the results, he loved it. He gave me the original drawings of Broadway Boogie-Woogie. It was the only thing he could give me. I was stunned at the time.

The thing is I was trying to say with my photographs what Mondrian meant to me. That I would copy his work or anybody else’s in order to do it to me would be horrifying because I would be copying and not creating. A lot of people do that. The man by the way is stiff, linear and very formal, just like his own work.

- Arnold Newman

Truman Capote, 1977 © Arnold Newman

Truman Capote, 1977 © Arnold Newman

Ayn Rand, 1964 © Arnold Newman

Ayn Rand, 1964 © Arnold Newman

Ava Gardner, 1949 © Arnold Newman

Ava Gardner, 1949 © Arnold Newman

Movie stars, actors…all they have is themselves. They have no other ability but to go on and portray somebody else. They don’t know how to be themselves. And it becomes a very difficult thing. Very rarely a great artist, not rarely, but only a few of them can say I don’t really care, I have warts, photograph me with the warts.

- Arnold Newman

Carl Sandburg and Marilyn Monroe, 1962 © Arnold Newman

Carl Sandburg and Marilyn Monroe, 1962 © Arnold Newman

I was acquainted with Carl at that time. He was working on the west coast, working on the words of Jesus in the Greatest Story Ever Told. He said come on out, let’s start work. I stayed with a friend of mine, a producer on a film, Something’s Got To Give. And that was of course the film that Marilyn didn’t finish.

I never saw the glamorous creature. Oh, I saw flashes of her in public and all that. But in the privacy of the home and wherever we were at, and later at my home, I saw nothing but a sad, sick girl.

- Arnold Newman

Leonard Bernstein, 1968 © Arnold Newman

Leonard Bernstein, 1968 © Arnold Newman

Max Ernst, 1942 © Arnold Newman

Max Ernst, 1942 © Arnold Newman

You wait for things to happen. Let’s say, I think I would like to photograph you over here, how about you standing behind the desk for a moment for me, and they’ll do that. Now, let’s face it, if you’ve got a very irritable subject or a man who is pretty rough and tough, President Johnson specifically, why don’t you just stand there for a few minutes, you just can’t do that. As a matter of fact, he gave me fifteen minutes, of course I took forty five. The idea was was that I was loosening him up, to get him used to the idea of photographing. I had to take a risk, my first risk shots, my insurance pictures at the beginning. They were not bad, but they were stiff and he was uptight, looking at his watch mentally.

Later, I got him to relax, we were kidding, he leaned sort of like this as he was waiting for me to get my camera ready again, which before he was very upset that I wasn’t ready. I was doing this on purpose. Finally, when he was like this, I said, don’t move.

- Arnold Newman

Alfred Krupp, 1963 © Arnold Newman

Alfred Krupp, 1963 © Arnold Newman

The worst people in the world, the real villains of today very often as Hitchcock said, hide in broad daylight, you just don’t recognize them. That’s the way Krupp was. He looked like a nice distinguished gentlemanly human being and he looked at my pictures and said, “Mr. Newman, I love your photographs so I think maybe we should take photographs.”

I worked this out where I got the lights to come under him, the usual thing. The result was that when I got him there, it was working but not really working. I had built a little platform of about two meters high, long enough to accommodate the both of us, him straddling a chair. I didn’t want to over do it. The lights were working beautifully but it just didn’t give me what I wanted. I went to Herr Bolen, that was his family name, “would you lean forward” and he leaned this way and my hair stood on end. There was the devil.

And they declared me persona non grata in Germany.

- Arnold Newman

Arthur Miller, 1947 © Arnold Newman

Arthur Miller, 1947 © Arnold Newman

John F. Kennedy © Arnold Newman

John F. Kennedy © Arnold Newman

Portraiture is a term that has taken on all these barnacles, all these terrible things that have happened to portraiture, on canvas, on stone, on metal, and then in photography. It’s something that is done to please the subject. A photographer is nothing more than a whore who does nothing but sit there thinking, will it please the subject, will i be able to sell him this picture, or will I be able to please him so he will buy it.

And the result is that little by little, people have begun to look down at portraiture, forgetting that the greatest artists in the world from Rembrandt, to Holbein, on up to Stieglitz and Strand, what have you, have all done portraiture and loved it. I happen to particularly love photographing people.

- Arnold Newman

Bill Clinton © Arnold Newman

Bill Clinton © Arnold Newman

Ansel Adams, 1975 © Arnold Newman

Ansel Adams, 1975 © Arnold Newman

Man Ray, 1948 © Arnold Newman

Man Ray, 1948 © Arnold Newman

Well, I didn’t mean to make a series of photographs on artists. My intent was explicitly to experiment with portraiture. And I hate the word portraiture. I prefer to call it photographs of people.

When I came to New York, you have to understand, in 1938, things were still bad from the depression and there wasn’t much money. I was unknown. I had this desire to make photographs of people but I didn’t know anyone. The ones that I wanted to meet, the ones that seemed to me, gave me the greatest opportunity…the artists were absolutely perfect.

- Arnold Newman

Salvador Dali, 1951 © Arnold Newman

Salvador Dali, 1951 © Arnold Newman

Henri Cartier-Bresson, NYC, 1947 © Arnold Newman

Henri Cartier-Bresson, NYC, 1947 © Arnold Newman

Cartier-Bresson is not a photojournalist. He takes individual images if you really look at them.

- Arnold Newman

Marc Chagall, 1942 © Arnold Newman

Marc Chagall, 1942 © Arnold Newman

Course Stieglitz was a man who I greatly admired and I had no idea that I was going to meet him. I do remember the fact that kept using words like inventive but the word that he kept using was honesty. He kept urging me then and later to be honest.

- Arnold Newman

Jean Dubuffet, 1956 © Arnold Newman

Jean Dubuffet, 1956 © Arnold Newman

Frank Lloyd Wright, 1947 © Arnold Newman

Frank Lloyd Wright, 1947 © Arnold Newman

Great photographs are not made with a camera. They are made by a human being with a mind. And he uses a tool. If that tool cannot make a great work of art, then he discards the tool. As long as the tools are available to us to make something that satisfies us, we’ll use it, no matter how imperfect it is.

- Arnold Newman

I.M. Pei, 1967 © Arnold Newman

I.M. Pei, 1967 © Arnold Newman

Claes Oldenburg, 1967 © Arnold Newman

Claes Oldenburg, 1967 © Arnold Newman

Igor Stravinsky, 1946 © Arnold Newman

Igor Stravinsky, 1946 © Arnold Newman

It all came to head in just a moment. I had been going to concerts and looking at various instruments. I had already photographed musical instruments in part and in whole and that sort of thing. Suddenly I realized that I had been admiring the shape of the piano and suddenly it hit me The piano shape – strong, hard, sharp, linear, beautiful in this strong harsh way was really the echo of Stravinsky’s work, his own music. When I thought about that, reflected on that, I thought where can I get a piano?

We found an editor who had a piano with a very simple wall, very simple background. I was able to manipulate the light on the background by simply taking one 1,000 watt light and moving it around until I got the exact light I wanted.

- Arnold Newman

Marcel Duchamp, 1966 © Arnold Newman

Marcel Duchamp, 1966 © Arnold Newman

Jean Arp, 1949 © Arnold Newman

Jean Arp, 1949 © Arnold Newman

Isamu Noguchi, 1947 © Arnold Newman

Isamu Noguchi, 1947 © Arnold Newman

Pablo Picasso, 1954 © Arnold Newman

Pablo Picasso, 1954 © Arnold Newman

[For the Picasso image] I used a small portion of a 4×5 negative which was part of a series that I did. I love the whole photograph, I still think that that is a successful photograph. What I realized in examining the photograph, the most exciting thing was face and his eyes so I decided to blow up that little section and make that the full image. And I blew it up and it was so successful, the old story, less is more. The impact of that closely cropped head with those fantastic eyes increased the value of the picture instead of decreasing it and it probably became one of my best known photographs.

- Arnold Newman

Louise Nevelson, 1972 © Arnold Newman

Louise Nevelson, 1972 © Arnold Newman


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Roxanne Lowit | The Original Party Photographer

Posted: September 9th, 2012 | Author: | Filed under: Cinema, Film, New York City, Photography, Quotes

I started out as a textile designer at FIT. I was given a 110 Instamatic camera to make reference photographs of my friends that I wanted to paint. I liked the instant gratification of the photographic process, so I traded in my paintbrushes for a camera and started exploring this new creative medium. The Editor in Chief of the Soho News Annie Flanders saw my pictures and asked me to go to Paris to cover the fashion shows for her with one stipulation: I had to get a real camera. I bought a camera and read the instructions on how to load film into the camera on the flight to Paris. The energy of shooting backstage was intoxicating. On that same trip I found myself atop the Eiffel Tour with Yves Saint Laurent and Andy Warhol for the after party for Yves show. From that moment on, I knew this was what I was meant to do. I returned to New York, quit my job, and decided I was now a photographer.

- Roxanne Lowit

Christy, Linda, Naomi © Roxanne Lowit

Christy, Linda, Naomi © Roxanne Lowit

Salvador Dali, Janet Daly and the stranger, New Years Eve © Roxanne Lowit

Salvador Dali, Janet Daly and the stranger, New Years Eve © Roxanne Lowit

Backstage Dior © Roxanne Lowit

Backstage Dior © Roxanne Lowit

 

Photography is my passion, my métier, and my muse. I love what I do and do what I love. That is the key to happiness.

- Roxanne Lowit

Lenny Kravitz & Iggy Pop © Roxanne Lowit

Lenny Kravitz & Iggy Pop © Roxanne Lowit

Keith Haring © Roxanne Lowit

Keith Haring © Roxanne Lowit

Linda, Naomi & Christy, 1989 ©  Roxanne Lowit

Linda, Naomi & Christy, 1989 © Roxanne Lowit

Paloma Picasso © Roxanne Lowit

Paloma Picasso © Roxanne Lowit

Paloma Picasso and Xavier de Castella at Le Privilege, Paris, 1983 © Roxanne Lowit

Paloma Picasso and Xavier de Castella at Le Privilege, Paris, 1983 © Roxanne Lowit

Divine and John Waters at Interferon, 1981 © Roxanne Lowit

Divine and John Waters at Interferon, 1981 © Roxanne Lowit

Lou Reed in New York, circa 1980 © Roxanne Lowit

Lou Reed in New York, circa 1980 © Roxanne Lowit

Robert De Niro and Al Pacino in New York, 1982 © Roxanne Lowit

Robert De Niro and Al Pacino in New York, 1982 © Roxanne Lowit

Steven Meisel in New York, 1989 © Roxanne Lowit

Steven Meisel in New York, 1989 © Roxanne Lowit


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Sergio Leone | The Surrealist Western

Posted: June 10th, 2010 | Author: | Filed under: Cinema, Painting, Poetry, Quotes

Sur·re·al·ism: the principles, ideals, or practice of producing fantastic or incongruous imagery or effects in art, literature, film, or theater by means of unnatural or irrational juxtapositions and combinations.

He gave back to the actors from the USA, the confidence that a western can be a great movie.

-Bernardo Bertolucci

When I go to the cinema, I’m often frustrated because I can guess exactly what is going to happen about ten minutes into the screening. So, when I’m working on a subject, I’m always looking for the element of surprise.

-Sergio Leone

A Sergio Leone film is an Ozu-esque journey into an arid, surreal land. The stories unfold at a pace that allows you to feel the passing of time like the best of post war Japanese cinema. The landscapes of the face, the expressions of the land, the scratchy gaze of taciturn men, Morricone’s wild, melodramatic score filling the dry air.

To watch a Leone film is to wait. The payoff will arrive, Sergio will always deliver, but you must wait and watch and wrap yourself in the languid pacing until the violence explodes in a flash. Then, it is time to wait again.

Leone was a big admirer of painters, especially the surrealists and Giorgio De Chirico in particular. You can see in De Chirico’s canvases that same bleak austerity that infuses Leone’s every frame. Leone shot many of his scenes on the same locations that Salvador Dali used in many of his nightmarish images from the 1930s. After filming the desert torture scene in The Good, the Bad, the Ugly, Leone later told  cinematographer Tonino Delli Colli that it was shot “in a way that was worthy of the great surrealist painters.”

His slow hand is so far away from what is being show in theaters today with the emphasis on showing continual loud, explosive pay-offs, dispensing with the whole notion of earning a climax through suspense. Once Upon a Time in the West, the film I consider to be the height of Leone’s career, features about 15 pages of dialogue for a film that is well over three hours, following the maxim laid down by John Ford that true cinema is short on dialogue and long on action.

I’m a pessimist by nature. With John Ford, people look out of the window with hope. Me, I show people who are scared to even open the door. And if they do, they tend to get a bullet right between the eyes. But that’s how it is.

-Sergio Leone

The Good, the Bad and the Ugly (Il buono, il brutto, il cattivo) 1966

One of the best cinematic introductions of a character, Tuco makes his first appearance in the film, glass in his hair, mouth full of food, bottle of wine, leg of chicken, bursting through a window after having just killed three men that tried to ambush him.

The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

Props like a simple mule-driven water wheel become gothic mechanisms in Sergio’s hands. Little details such as the need for the boy to duck twice during each rotation make a commonplace contraption into a bizarre device.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

Designed and built by Carlo Simi, Leone’s interiors are substantial, heavy, and overbearing sometimes, with compositional motifs running throughout. There is a weighty permanence throughout the production design of all of his movies that differs from the clapboard, transient feel of Hollywood westerns.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The long torture scene in the desert is accessorized with Tuco’s pink parasol.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

Shot like most Spaghetti Westerns in Almeria, Spain, Sergio, unlike other directors did not make the landscapes try to appear like the American West. He shot them as disturbing, alien terrains.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The ghost stagecoach appearing out of the desolation, carrying its cargo of the dead.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

Each scene in a Leone film just feels slightly (sometimes overtly) bizarre, as if things real and recognizable, are just somehow, slightly, disturbingly off. His choice of props only help to build this tone. Here, Blondie plays with a kitten before he gets up to kill a man.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The iconic bathtub scene is one of the funniest moments in the film with Tuco telling the fallen assassin, “When you have to shoot, shoot. Don’t talk.” Eli Wallach, as he played the scene straight, said he never understood why everyone thought it was funny.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone

Leone’s attention to details and historical accuracy was famous but these elements were rendered so large and melodramatic, that they felt unreal in his hands, enough so that he had to show source photographs to some skeptics.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

There was a degree of realism in his movies, as surrealistic as they were, that always seemed to be missing from the Hollywood westerns of the thirties, forties and the fifties.

-Quentin Tarantino

The introductory shot to the Ecstasy of Gold sequence. It took two weeks and scores of men to make all of the graves.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The final showdown, a triangle of shooters in the circular plaza with the radiating spokes of graves.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

The main motif of the movie, the hangman’s noose, frames Tuco’s transformation from joy to anger in a slow reveal as the camera cranes upwards, letting both the viewer and Tuco discover the rope.

The Good, the Bad and the Ugly, 1966, Sergio Leone
The Good, the Bad and the Ugly, 1966, Sergio Leone

Once Upon a Time in the West (C’era una volta il West) 1968

What they [Leone, Dario Argento, Bernardo Bertolucci during the writing of Once Upon a Time in the West] were doing was something that is very common now but in 1967 was very uncommon, which is films about films. And in fact, the French philosopher Jean Baudrillard has called Leone the first postmodernist film director for this reason.

-Sir Christopher Frayling

One of the greatest opening sequences , the long languid set up of the arrival of Harmonica at the train station sets the pace for the rest of the film with exquisitely framed compositions, three legendary western character actors and a thick palpable tension as we wait. Almost no dialogue, Morricone’s natural ambient sounds score a’la John Cage; Jack Elam and the fly, Woody Strode and the dripping water, the sea of railroad ties. Sublime.

The greatest scene he ever directed was the opening sequence to Once Upon a Time in the West. It’s like a haiku poem, it’s flawless. I mean it’s extraordinary filmmaking.

-James Woods

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone

The famous mittens in Monument Valley filmed over and over again by John Ford. Shot by Leone, the landscape has never felt so enormous while at the same time, so much less majestic and picturesque than Ford’s treatments.

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

The way station is part stable, part saloon, part inn and is a baroque space, massively constructed. The alternating light and dark spots within the crowded heavy space gives this long scene a continual sense of unease.

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

The slaughtered family laid out on gingham picnic tables with wildflower garnish.

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

Jill (Claudia Cardinale) in front of Sweetwater Ranch. Designed and built by Carlo Simi, the massive structure, which still stands today in Almeria was made using lumber from Orson Welle’s failed Falstaff production. The formidable ranch does not even resemble a home at all. A Leone film is no place for a comforting, inviting homestead as in a typical western.

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

Jill shot through the lattice of the lace canopy which was a very unusual and original framing. Shots like this lent credence to the school that called Leone’s films ‘art westerns.’

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

Figures either appear magically out of landscapes like apparitions or are swallowed up by them.

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

The fight sequence in the unfinished town has the most obvious Dali references with the painted clocks and the cheeky High Noon reference.

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

The hanging bed in the pueblo for the lovemaking/rape scene is bizarre and to Leone’s credit, it somehow makes sense and the viewer never questions why anyone would construct such a thing.

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

One of the best sight gags in all of his movies, Jason Robard’s revolver in a boot.

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

We’d have wonderful long lunches. Charlie Bronson would say ‘Wait, wait a minute, what is this? Why don’t we get back on the set and get working.’ Hank Fonda  and I would say, ‘Relax, Charlie. Relax. You’ll never get it like this again.’ It was a great atmosphere there.

-Jason Robards

Crippled and stuck in his self-imposed prison inside a luxury train car, a gothic gold cage descends from the ceiling, allowing Morton (Gabriele Ferzetti) to move around.

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

The arresting, out of focus image of the ghostly figure appearing out of the haze of the desert is repeated throughout the three hour film. Teasing the viewer, the mystery of the lone haunting figure is finally revealed during the final duel between Harmonica and Frank as the image finally comes into focus. One of the best pay-offs in the history of cinema, Leone takes the ultimate western cliche, that of revenge, and makes it as melodramatic and as epic as only he can.

The function of the flashback is Freudian…[Y]ou have to let them wander like the imagination or like a dream.

-Sergio Lenoe

Once  Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

There is a zoom shot into Charles Bronson’s eyes at the moment, the flashback of why he’s there on his mission, is told. That may be the biggest close-up of an actor’s eyes I have ever seen in my life. They completely fill the screen.

-John Carpenter

Once Upon a Time in the West, 1968, Sergio Leone
Once Upon a Time in the West, 1968, Sergio Leone

When I say give me a ‘Sergio Leone’, I’m implying the feel that I want. It’s not just an extreme close-up. It’s not just a frame.

-Quentin Tarantino

…the eyes are the most important element to me. Everything can be read in them…

-Sergio Leone

Duck, You Sucker (Giù la testa) 1971

You can’t shoot a film as if you were putting a salami into its skin. From a project like [Kurosawa's] Ran or Once Upon a Time in America, you come away dry in the mouth, with your head in flames and your soul in shreds.

-Sergio Leone

The Clergy, American Big Business and Italian Upper Class rolling in the mud of a pig sty.

Duck, You Sucker, 1971, Sergio Leone
Duck, You Sucker, 1971, Sergio Leone

He had a huge canvas on which he worked, psychologically, historically, even in terms of the economic understanding of the development of America because you know that triptych, starting with Once Upon A Time in America, Duck, You Sucker, Once Upon A Time in The West…I mean there’s sort of the European- Marxist view of the founding of America at the hands of robber barons and organized crime. It’s not far from wrong by the way, if at all.

-James Woods

A little al fresco dining between Rod Steiger and James Coburn.

Duck, You Sucker, 1971, Sergio Leone
Duck, You Sucker, 1971, Sergio Leone

At one point, James Coburn slips away from Steiger, leaving only his mule and hat behind as a taunt.

Duck, You Sucker, 1971, Sergio Leone
Duck, You Sucker, 1971, Sergio Leone

These humorous and surreal moments come effortlessly and often in Duck, You Sucker.

Duck, You Sucker, 1971, Sergio Leone
Duck, You Sucker, 1971, Sergio Leone

Duck, You Sucker, 1971, Sergio Leone
Duck, You Sucker, 1971, Sergio Leone

I think a case can easily be made that Morricone and Leone may be the greatest composer-director collaboration in the history of film. Even as wonderful as the Hitchcock- Bernard Herrman collaboration was, it almost even isn’t comparable to how important Morricone was to Leone and Leone was to Morricone. You can’t even imagine the movies without Morricone’s music.

-Quentin Tarantino

James Coburn’s Irish partisan Sean tends to exit scenes with big bangs.

Duck, You Sucker, 1971, Sergio Leone
Duck, You Sucker, 1971, Sergio Leone

The [John] Ford film I like most of all…is also the least sentimental, The Man Who Shot Liberty Valance…Ford finally, at the age of almost sixty-five, finally understood what pessimism is all about. In fact, with that film Ford succeeded in eating up all his previous words about the West…Because Liberty Valance shows the conflict between political forces and the single, solitary hero of the West…He loved the West and with that film at last he understood it.

-Sergio Leone

A hundred years from now, Leone will be one of the great, you know, he’ll be unequivocally up there with the greatest of them all.

On my deathbed, when someone says, ‘What was the greatest artistic experience you’ve ever had?’, it was working with Sergio Leone. There’s no doubt about it. It was the Everest of my life, you know. I never got a chance to tell him that because I was too young or confused or too shy to call him up and sort of say it. One of the reasons I wanted to do this interview was to say it so someone could hear it.

-James Woods


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