film in the Forties by Camerini. The new version is an elaborate $34 million international co-production with Burt Lancaster and F. Murray Abraham. Elio Petri, who is now dead, received an Academy Award for Investigation O f A Citizen Above Suspicion (1970) but many o f his other great films are unknown outside Italy. Part o f the problem is the American practice o f importing culture from Europe, so, for example, Swedish cinema was for many years solely represented by the name o f Ingmar Bergman, Spain by Buñuel, France by Truffaut, West Germany by Herzog and Fassbinder and so on. The holy names in Italy remain the likes o f Pasolini, Fellini, Antonioni and De Sica and these directors are stars who are primarily uninterested in actors. Fellini uses actors as props in his spectacles, Antonioni is more concerned with the compositions within the frames, Pasolini was similar in that he picked people up off the streets. But there is another tradition o f directors who really enjoy working with actors and here I am thinking o f Damiani, Squitieri, Vancini, Petri and Zampa. These people deserve more recognition. Ton have worked on occasions with R obert K atz, the A m erican writer based in Rome. I put together the film version o f Morris West’s novel The Salam ander in 1981 as a US-Italian-British co-production. The original script was fantastic but the backers thought it was too long so I suggested that Katz, being an Italian resident, might be an ideal choice to make script revisions. I rounded up several acting friends: Eli Wallach, Martin Balsam, Anthony Quinn, Claudia Cardinale. The only problem was the director, Peter Zinner, who was making his feature debut. He came to see me in Los Angeles one day and begged me to work on the project. His credentials as an editor were very impressive and included fine work for Coppola, The Godfather (1972), and Cimino, The Deer H unter (1978). I made a mistake in hiring him. Everybody seems to think that directing is easy but you need a sense o f culture, you need to spend years absorbing the working atmosphere o f film sets, watching the mechanics and scenes being played out with the camera. The first cut o f The Salam ander was over four hours and had to be cut down to two hours for cinema release. I had to fly out to Los Angeles to record a voiceover narration to explain what were now incomprehensible plotpoints. One o f the producers I hired for that film was Paul Maslansky, who is now one o f the richest producers in the world thanks to the Police Academ y series which he initiated. What was your in itial reaction to the script o f Fassbinder’s Querelle? Fassbinder kept offering me movie roles in films like Lili M arleen (1981) which I couldn’t fulfil because o f scheduling problems. So one day Katz calls and tells me that Fassbinder is acting in a movie, K am ikaze ’89 (d. Wolf Gremm, 1982) as the leading man and he has asked if I would appear in a cameo role. As payment he offered me the Italian rights: I accepted, just for fun. But the real reason the offer was made is that he likes to meet you personally and size you up. At this time he had started casting Querelle and told me about that film. When I read the script I was unsure but Fassbinder persisted in his shy manner. Eventually I was won over and realized I had underestimated the man. He was a fan o f my work and owned cassettes o f many o f my films. During the shoot of Qiierelle I signed a personal contract with him for two further projects - The Blue o f Noon by Georges Bataille and Cocaine. Qiierelle was a strange experience for me. I remember Andy Warhol, who designed the film’s poster, as a frequent visitor on set. Every night Fassbinder would sit in the same spot in the same restaurant with his coterie enclosed in his own world, always populated by the same 10 or 15 cronies. He was incredibly fast in the shooting - the schedule stipulated an eight-week shoot but he completed his task in four weeks and three days. When you see the finished product it is quite unbelievable. There were no rehearsals. All he told me was that if I did something he didn’t like then he would let me know. But he didn’t say anything. As a person I thought he was a desperate man. He was strong-minded and a compulsive worker. H ave you developed any properties yourself fo r the screen? Ten years ago while Elio Petri was still alive we collaborated on a great script called The Hostage, set in America. This was a project I dearly wanted to direct. At this time Jessica Lange, who had recently completed K in g Kong (1976), agreed to be involved. However nobody wanted her. She was trying to live down the ill-fated K ong remake and her career went into a downslide until Bob Fosse gave her a part in A ll That Ja z z (1979). Even then she had to audition with 200 other actresses. Another project dear to my heart was the story o f three Italians in America, to be played by Marcello Mastroianni, Vittorio Gassman and myself. All the major American companies expressed interest but the best offer was made by Alan Ladd Jr at Fox with whom we signed. As producer I employed a friend o f mine, Fernando Ghia, later to produce The Mission (1986). Unfortunately a clause in the contract gave Fox final script approval. On Friday the film was green-lighted but by Monday had been scrapped due to the reaction o f the executives’ wives who read it over the weekend and pronounced it “against the American woman”. W hat happened to prevent your participation in Francesco Rosi’s Domini Contro (1969)1 Originally I was intending to make this film with Petri. At the same time Francesco Rosi was involved in a car accident and his daughter died. A few days later Rosi called Petri and told him that he (Rosi) wanted to make this particular film. Rosi went ahead and made the film with Mark Frechette, who had featured in Zabriskie Point (1969). The film bombed and the producer lost 16
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his investment. In your C V do you have any fav ou rite we have not m entioned? In 1980 I made a film in Yugoslavia called The Falcon, directed by Vatroslav Mimica. Set in the 16th century, the story concerns a national hero o f that country who fights the Turks who have abducted his wife. I became friends with Bondarchuk on the Neretva film and he asked me to play John Reed in the Russian epic o f Ten Days That Shook The World which was filmed in two parts, one in Mexico, Mexico In Flam es(1 9 8 2 ), and the other in Russia, R ed Bells (1982). I worked for Claude Chabrol in Tunisia on a paranormal thriller, The M agicians (1976), with Stefania Sandrelli and Jean Rochefort. Besides being a great director he is also a champion gourmet and chess player. T ou’re a g ood chessplayer yourself utilizing the world as your chessboard a n d working in various countries under differin g circumstances. I am happy anywhere because I am a gypsy. My grandmother was a Spanish gypsy so I have a mind for easy adaptation. Because I have been involved in production myself I like to help out on sets and this is bad for actors who don’t seem to want advice. I am actually very religious, very Catholic - my life is like a mission because for 25 years I have supported a village o f 50 children which I take care of. I like to see what can be done to save money and help make technical improvements. On Z effirelli’s Toung Toscanini (1988) you received a n unusual billing... Zeffirelli approached me about playing Toscanini’s father in his younger days. The proposal was to film for three weeks in my home town o f Parma so I accepted. Months went by and meanwhile I was involved in two other projects, The Betrothed and Pygmalione ’88 (d. Flavio Mogherini). One day I receive a phone call asking if I am still interested in playing in the Toscanini film which has been shooting for months. So what he offered was one day’s work in Tunisia where sets representing the Genoa harbour and the theatre house had been constructed. I agreed to do the two scenes they required but didn’t want any billing and made the stipulation that my fee be forwarded to the village where my 50 children live. Zeffirelli pleaded with me to allow my name to be used but I explained to him that my role didn’t even amount to a cameo so we decided to call it “a friendly appearance” . Finally, what happened with your starring appearance in Victor/Victoria ? Sad story. Blake Edwards intended using me in that film when the project was with Lorimar. When M GM inherited the film the studio head, David Begelman, quarrelled with Blake about Julie being involved. Finally, as a face saving compromise, Begelman did some horse trading and allowed Edwards to cast his wife if Begelman was allowed to have a say in the other casting. So he “suggested” his good friend, James Garner.. ■ FRANCO NERO: SELECTED FILMOGRAPHY 1963: Un Delitto (documentar)’) (d. Luigi Bazzoni) 1964: La Celestina (Celestina/ M aid a t Tour Service) (d. Carlo Lizzani) La Ragazza iti Prestito (d. Alfredo Giannetta) 1965: Io la conscere bette ( I Knew Her Well) (d. Antonio Pietrangeli) I Criminali della galassia (The Wild, Wild P la n et/ War ofthe Planets) (d. Antonio Margherita) I diafonoidi vengona da morte ( The Deadly Diapbanoids) (d. Antonio Margheriti) Gli uomini dal passo pesante (The Tramplers) (d. Albert Band, Mario Sequi) 1966: The Bible (d. John Huston) Django (d. Sergio Corbucci) Il terzo occhio ( The Third Eye) (d. James Warren’ [Mino Guerrini]) Tecnica di un omicidio (The Hired K iller/N o Tearsfo r a Killer) (d. ‘Frank Shannon’ [Franco Prosperi]) Le colf cantrono la morte efu tempo di anazzacro ( Tempo di massacro/The Brute and the Beast) (d. Lucio Fulci) Texas addio (The Avenger) (d. Ferdinando Baldi) 1 9 67: Camelot (d. Joshua Logan) L ’uomo, l ’orgoglio, la vendetta (d. Luigi Bazzoni) 1968: Il Mercenario (The Mercenary/A Professional Gun) (d. Sergio Corbucci) Un tranquillo posto di campagna (A Qiiiet Place in the Country) (d. Elio Petri) Ilgiomo della civetta (M afia/The Day o f the Owl) (d. Damiano Damiani) 1968: The Battle o f Neretva (d. Veljko Bulajic) 1969: The Virgin and the Gypsy (d. Christopher Miles) Gon m it uns (God Am ong Us/Crime o f Defeat) (d. Giuliano Montaldo) Tristana( d. Luis Buñuel) Un detective macchie di belletto (Detective Belli) (d. Romolo Guerrieri) 1970: Dropout (d. Tinto Brass) Vamos a motor, companeros (Companeros!) (d. Sergio Corbucci) 1971: Giornata nero per Ariette (Evil Fingers) (d. Luigi Bazzoni) Confessione di un commissario di polizia al Procuratore della Republica (Confessions o f a Police Captain) (d. Damiano Damiani) La Vacanza (d. Tinto Brass) 1972: Pope Joan (The Devil’s Impostor) (d. Michael Anderson) L ’instruttoria e chiusa dinentichi (d. Damiano Damiani) Viva la muerta tu a ’. (Don’t Turn the Other Cheek/Long Live Tour Death) (d. Duccio Tessari) Le Moine (Il Monaco/The Monk) (d. Ado Kvrou) II delitto Matteotti (d. Florestano Vancini) Senza ragione (Redneck) (d. Silvio Narizzano) 1973: Los Amigos (D eaf Smith and Johnny Ears) (d. Paolo Cavara) Zanna Bianco ( White Fang) (d. Lucio Fulci) La polizia incrimina, la legge assolve (High Crime) (d. Enzo Castellari) 1974: Iguappi (Blood Brothers) (d. Pasquale Squitieri) Il ritorno di Zanna Bianca (Challenge to White Fang) (d. Lucio Fulci) Mussolini: ultimo atto (Mussolini: The Last Act) (d. Carlo Lizzani) Il cittadino si ribella (The Citizen Rebels) (d. Enzo Castellari) 1975: Perche si uccide un magistrato (Why Does One Kill a Magistrate?) (d. Damiano Damiani) Corruzione al palazzo digiustizia (Corruption in the Halls o f Justice) (d. Marcello Aliprandi ) Ilcipollaro( Cipolla C olt/ Cry O nion/ Smell o f Onion) (d. Enzo Castellari) Carte di rispetto (The Flower in his Mouth/Respectable People) (d. Luigi Zampa) The Legend ofV alentino(TV morie) (d. Melville Shavelson) Marcia Trionfale ( Victory March) (d. Marco Bellocchio) Les Magiciens (Profezio per un delitto) (d. Claude Chabrol) 1976: Autostop rosso sangue (Death Drive) (d. Pasquale Testa Campanile) Keoma ( The Violent Breed) (d. Enzo G. Castellari) 21 Hours a t Munich (T V morie) (d. William A. Graham) 1 9 77: Submission (Scandalo) (d. Salvatore Samperi) Django - ¡¡grande ritorno (Django’s Great Return) (d. Enzo Castellari) 1978: Force 10from Navarone (A. Guv Hamilton) Harold Robbins’ The Pirate (mini-series) (d. Ken Annakin) 1979: The Visitor ( d. Giulio Paradisi) Die Man with Bogart’s Face (d. Robert Day) Un dramma borghese ( Mimi) (d. Florestano Vancini) Shark H unter (d. Enzo Castellari) 1980: Die Falcon (d. Vatroslav Mimica) The Day ofthe Cobra (d. Enzo Castellari) Die Blue-Eyed Bandit(d. Alfredo Giannetri) D anzig Roses (D ie Roses o f Danzig) (d. Alberto Berilacqua) 1981: Sahara Cross (d. Tonino Valeri) The Salamander (d. Peter Zinner) Enter the Ninja (d. Menahem Golan) 1982: Grog (d. Francesco Laudadio) Qiierelle (d. R.W. Fassbinder) Mexico in Flames (d. Sergei Bondarchuk jR c d Bells (d. Sergei Bondarchuk) 1983: Wagner (mini-series) (d. Tony Palmer) Die Wizard o f Babylon (documentary) (d. Dieter Schidor) Kamikaze ’89 (d. Wolf Gremm) 1 9 84: Die Last Days o f Pompeii (mini-series) (d. Peter Hunt) Un solitaro e mezzo (d. Tommaso Dazzi) 1985: Sweet Country(A. Michael Cacovannis) Die Forstenbuben ( The Forester’s Bovs) (d. Peter Patzak) Garibaldi the Genera! (mini-series) (d. Luigi Magni) Il pentito ( The Repenter) (d. Pasquale Squitieri) 1986: Race to Danger (d. Tommaso Dazzi) Die Girl (d. Arne Mattson) Marathon (d. Terence Young) Murderers' Feelings (à. Mai Zetterling) 1987: Ilgrande ritorno di Django (Django Rides Again) (d. ‘Ted Archer’ [Nello Rosati]) Un A ltari perla Madre (A n A lta r fo r a Murder) (d. Edith Brack) Blue Blood (d. Sidney Havers) 1988: Top Line (d. ‘Ted Archer’ [Nello Rosati]) Die Betrothed ( mini-series) (d. Salvatore Nocita) Sidney Sheldon 's Windmills o f the Gods (mini-series) (d. Lee Philips) Pygmalione ’88( d. Flavio Mogherini) Silent Night (A. Monica Teuber) Die H eart o f Victory (A. Ludovico Gasparini) 1989: Die Magistrate (mini-series) (d. Kathy Mueller) Toung Toscanini (d.Franco Zeffirelli).
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