Production
After the box-office success of A Fistful of Dollars in Italy, director Sergio Leone and his new producer, Alberto Grimaldi, wanted to begin production of a sequel, but they needed to get Clint Eastwood to agree to star in it. Eastwood was not ready to commit to a second film when he had not even seen the first. Quickly, the filmmakers rushed an Italian-language print (a U.S. version did not yet exist) of Per un pugno di Dollari to him. The star then gathered a group of friends for a debut screening at CBS Production Center and, not knowing what to expect, tried to keep expectations low by downplaying the film. As the reels unspool, however, Eastwood's concerns proved to be unfounded. The audience may not have understood Italian, but in terms of style and action, the film spoke volumes. "Everybody enjoyed it just as much as if it had been in English", Eastwood recalled. Soon, he was on the phone with the filmmakers' representative: "Yeah, I'll work for that director again", he said. Charles Bronson was again approached for a starring role but he passed, citing that the sequel's script was like the first film. Instead, Lee Van Cleef accepted the role. Eastwood received $50,000 for returning in the sequel, while Van Cleef received $17,000. The film was shot in Almería, Spain, with interiors done at Rome's Cinecittà Studios.
The production designer, Carlo Simi built the town of "El Paso" in the Almería desert: it still exists, as a tourist attraction Mini Hollywood. The town of Agua Caliente, where Indio and his gang flee after the bank robbery, is Albaricoques, a small "pueblo blanco" on the Níjar plain.
As all of the film's footage was shot silent, Eastwood and Van Cleef returned to Italy where they dubbed over their dialogue and sound effects were added.
Read more about this topic: For A Few Dollars More
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“In the production of the necessaries of life Nature is ready enough to assist man.”
—Henry David Thoreau (1817–1862)
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)