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From: A Trilogy of Terror An interview with Ian McCulloch
by Jason J. Slater & Marcelle Perks
Diabolik number 1 (1997)
The director of ZOMBIE HOLOCAUST was a veteran of Italian comedy television films. How was it to work with him in a horror movie? Did he find it difficult to work within such a genre?
This chap? (Ian points
Continue reading Ian McCulloch on Marino Girolami I was probably 11 when I first became aware of Aldo Sambrell. Burt Reynolds in NAVAJO JOE gave a physically thrilling performance as a man seeking revenge on the gang of scalphunters that murdered his wife and village. The leader of the gang was evil personified and the actor who played the role filled it with chilling conviction. Who was … Continue reading Remember Aldo From: ZORRO UNMASKED The Official History
by Sandra Curtis
During the 1960s, over thirty foreign Zorro movies were produced, chiefly in Mexico, Italy, and Spain. Inexpensively shot, they would be classified in the genre of “spaghetti westerns.”
McCulley’s masked fox confronted Cardinal Richelieu with the Musketeers in ZORRO E I TRE MOSCHIETTIERI (ZORRO AND THE THREE MOUSKETEERS, 1961, Italy). Zorro
Continue reading An Official Look At the European Zorros From: YUL BRYNNER THE INSCRUTABLE KING
by Jhan Robbins
Brynner’s next role was a laconic soldier of fortune in a spaghetti Western called ADIOS SABATA (1971). The movie was short on plot but long on violence – a goldplated, sawed-off repeating rifle and a triple-barreled derringer got a great deal of practice. Yul made good use of both of them.
Continue reading Yul Brynner crashes car during production of INDIO BLACK. [In 1986, Lorenzo De Luca conducted an interview with director Duccio Tessari which was published in both Lorenzo's fanzine FAR HORIZONS and his book C'ERA UNA VOLTA IL WESTERN ITALIANO.]
LDL: Who influenced you the most?
Duccio Tessari: I think that, even if we don’t realize it, we are influenced all the time. One who reads – a learned man
Continue reading Duccio Tessari on influences [In 1986, Lorenzo De Luca conducted an interview with director Duccio Tessari which was published in both Lorenzo's fanzine FAR HORIZONS and his book C'ERA UNA VOLTA IL WESTERN ITALIANO.]
LDL: What are the differences between the Westerns of John Ford and Howard Hawks and the Westerns of Sergio Leone and Duccio Tessari?
Duccio Tessari: The fundamental difference is that
Continue reading Duccio Tessari on the difference between American and Italian Westerns [In 1986, Lorenzo De Luca conducted an interview with director Duccio Tessari which was published in both Lorenzo's fanzine FAR HORIZONS and his book C'ERA UNA VOLTA IL WESTERN ITALIANO.]
LDL: The Italian Westerns used the soundtrack differently; why this particular attention to the soundtrack?
Duccio Tessari: I don’t think that is a fact concerning quality. I mean that Morricone,
Continue reading Duccio Tessari on the sound of the Italian Western [In 1986, Lorenzo De Luca conducted an interview with director Duccio Tessari which was published in both Lorenzo's fanzine FAR HORIZONS and his book C'ERA UNA VOLTA IL WESTERN ITALIANO.]
LDL: As with American Westerns, Italian Westerns had good and bad characters, but for us it was only a convenient distinction as our heroes were all but honest and clean.
Continue reading Duccio Tessari on the intention to demythologize [In 1986, Lorenzo De Luca conducted an interview with director Duccio Tessari which was published in both Lorenzo's fanzine FAR HORIZONS and his book C'ERA UNA VOLTA IL WESTERN ITALIANO.]
LDL: The success of the Spaghetti Western raised alot of polemics: someone charged our cinema with appropriating a culture not its own. Then Sergio Leone said, “The West, considered as
Continue reading Duccio Tessari on cultural plundering [In 1986, Lorenzo De Luca conducted an interview with director Duccio Tessari which was published in both Lorenzo's fanzine FAR HORIZONS and his book C'ERA UNA VOLTA IL WESTERN ITALIANO.]
LDL: In the ’60s, the American Western was in a crisis. Had the audience grown tired of the upright hero?
Duccio Tessari: I should say so! Upright heroes are typically
Continue reading Duccio Tessari on Italian Western heroes From: National Catholic Office For Motion Pictures Films ’69/70 Film Education The Western: A Genre in Transition prepared by Frank Frost USC
The disillusionment we see in THE WILD BUNCH is not exactly new, nor is the public unprepared for its degree of violence. The unabashed violence of the Sergio Leone Westerns (A FISTFUL OF DOLLARS, and so on) was
Continue reading The Leone influence. From: Cable Column “A Conversation with MONTE HELLMAN”
Z Channel Magazine – unknown date
Monte Hellman: TWO LANE BLACKTOP probably had the most success of any of my pictures because it was really widely distributed. It was booked into a lot of theatres in America even though it wasn’t ever really promoted. But I think CHINA 9, LIBERTY 37 actually
Continue reading Monte Hellman on CHINA 9, LIBERTY 37 From: That’s With An “S” IV An interview with, and a look at the films of, Robert Woods
by William Connolly
with research by Michael Ferguson, Tom Betts and Gordon Harmer
Spaghetti Cinema #53, June 1993
Robert Woods: (On MY NAME IS PECOS…) Demofilo Fidani did the costumes. Demofilo and Mila Fidani. They did the costumes and that sort of
Continue reading Robert Woods on Sicily and stuff From: That’s With An “S” IV An interview with, and a look at the films of, Robert Woods
by William Connolly
with research by Michael Ferguson, Tom Betts and Gordon Harmer
Spaghetti Cinema #53, June 1993
Robert Woods: I think I might have dubbed MY NAME IS PECOS, because I did some of them, but I was so busy that
Continue reading Robert Woods on MY NAME IS PECOS |
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