Ennio Morricone

Contents

• Translator's Note
• Preface
• Introduction Where These Conversations Come From
• Chapter One Playing (Chess) with Mephisto
• Chapter Two A Composer Lent to Cinema
• 2.1. On Arranging
• 2.2. The Beginnings in Cinema
• 2.2.1 Paying My Dues
• 2.2.2 Luciano Salce
• 2.3 Sergio Leone and the Dollar Trilogy
• 2.2.1 A Fistful of Dollars: Myth and Reality
• 2.2.2 For a Few Dollars More
• 2.2.3 The Good, the Bad and the Ugly
• 2.4 Pier Paolo Pasolini
• 2.4.1 The Hawks and the Sparrows and a Strange Poem
• 2.4.2 Teorema and an Unrealized Story
• 2.4.3 Surrendering to Pasolini
• 2.5 Collaborations, Experiments, and Professional Consolidation
• 2.5.1 Pontecorvo, De Seta, Bellocchio
• 2.5.2 Bolognini, Montaldo
• 2.5.3 Wertmuller, Bertolucci
• 2.5.4 Consensus or Consumption? 1968 and Once Upon a Time in the West
• 2.5.5 Duck, You Sucker
• 2.5.6 Elio Petri
• 2.5.7 Sergio the Producer
• 2.5.8 Once Upon a Time in America
• 2.5.9 The Leningrad Project and Leone's Death
• Chapter Three Music and Images
• 3.1 Reflections and Memories of a Film Music Composer
• 3.1.1 No Theme? More Fun !
• 3.1.2 Giuseppe Tornatore
• 3.1.3 Singers and Songs in Film: On Music's Adaptability
• 3.1.4 Quentin Tarantino
• 3.1.5 Temporality and the EST Principle
• 3.2 Backward Path to the Beginnings in Hollywood
• 3.2.1 The Academy Honorary Award
• 3.2.2 The Beginnings in U.S. Cinema
• 3.2.3 A House in the United States?
• 3.2.4 U.S. Composers
• 3.2.5 Terrence Malick
• 3.2.6 The Interpreter Didn't Help with John Carpenter
• 3.3 Creativity and Constraints: The Double Aesthetics
• 3.4 On Theater, the Musical, and Television
• 3.4.1 The Betrothed
• 3.4.2 Moses, the Lawgiver
• 3.4.3 Marco Polo
• 3.4.4 Secret of the Sahara
• 3.4.5 The Octopus
• 3.5 Pains and Experiments
• 3.5.1 Roberto Faenza
• 3.5.2 Nino Rota
• 3.5.3 Difficult Relationships
• 3.5.4 Joanou, Stone, and the Overtones
• 3.5.5 Warren Beatty
• 3.5.6 Pride and Repentance
• 3.5.7 Fights and Arguments
• 3.6 Beyond Cinema, Beyond Music
• Chapter 4 Mystery and Mastery
• 4.1 The Mystery of Creation
• 4.2 What Is Music?
• 4.2.1 Birth, Death, and Resurrection of Music
• 4.2.2 In Search of Myself: How to Listen to Contemporary Music
• 4.2.3 My Way
• 4.2.4 A Dilated Present
• 4.2.5 Studying Music Today?
• 4.3 A Sophisticated Balance between the Predictable and the Unforeseeable
• 4.4 Digressions
• 4.4.1 Cinema's Transformations
• 4.4.2 Timbre, Sound, and Performers
• 4.4.3 On Teaching
• 4.4.4 High Productivity? A Healthy Mind in a Healthy Body
• Chapter Five An Absolute Music?
• 5.1 The Roots
• 5.1.1 A Short Introduction to the Absolute
• 5.1.2 Darmstadt: A Summer of Experiments
• 5.1.3 Gruppo d'Improvvisazione Nuova Consonanza
• 5.2 A Response to the Conflict of Times: Towards Dynamic Immobility
• 5.2.1 Suoni per Dino
• 5.2.2 Vidi Aquam. Id Est Benacum
• 5.3 Musical Creationism versus Musical Evolutionism
• 5.3.1 Gestazione
• 5.3.2 Beliefs: The Origins of Life and the Universe
• 5.4 Mystical Production
• 5.4.1 Mass for Pope Francis
• 5.5 The Ideal of Unity: Blend and Hope
• 5.5.1 The Mission
• 5.5.2 Voci dal silenzio and La voce dei sommersi
• 5.5.3 Cantata per l'Europa and a Poem for Maria
• 5.6 Exchanges, Form, and Linguistic Combinations
• 5.6.1 UT
• 5.6.2 The Four Concertos: Form and Non-Form
• 5.7 The Future of Music: Noise and Silence
• Chapter 6 Looking Ahead: A Silent Nod towards the Future
• Chronological List of the Absolute Music
• Chronological List of the Applied Music
• Acknowledgments
• Index