Editing The Good, the Bad and the Ugly (section)

=== Filming ===
[[File:Almeria 3.jpg|thumb|upright|Set of ''The Good, the Bad and the Ugly'' with the distinctive rugged terrain in the background.]]
[[File:Cementerio Sad Hill 3.jpg|thumb|right|[[Sad Hill Cemetery]] as it was in 2016.]]
Production began at the [[Cinecittà|Cinecittà studio]] in Rome again in mid-May 1966, including the opening scene between Eastwood and Wallach when Blondie captures Tuco for the first time and sends him to jail.<ref name="McGillagan153" /> The production then moved on to Spain's plateau region near [[province of Burgos|Burgos]] in the north, which doubled for the Southwestern United States, and again shot the western scenes in [[province of Almería|Almería]] in the south of Spain.<ref name="McGillagan154">Patrick McGillagan (1999). Clint: the life and legend. St. Martin's Press. {{ISBN|978-0312290320}} p.154</ref> This time, the production required more elaborate sets, including a town under cannon fire, an extensive prison camp, and an American Civil War battlefield; and for the climax, several hundred Spanish soldiers were employed to build a cemetery with several thousand gravestones and wooden crosses to resemble an ancient [[Roman circus]].<ref name="McGillagan154" /> The scene where the bridge was blown up had to be filmed twice because all three cameras were destroyed in the first take by the explosion.<ref>Munn, p. 62</ref> Eastwood remembers, "They would care if you were doing a story about Spaniards and Spain. Then they'd scrutinize you very tough, but the fact that you're doing a Western that's supposed to be laid in Southwest America or Mexico, they couldn't care less what your story or subject is."<ref>Frayling (2000), p. 212</ref> Top Italian cinematographer [[Tonino Delli Colli]] was brought in to shoot the film and was prompted by Leone to pay more attention to light than in the previous two films; Ennio Morricone composed the score once again. Leone was instrumental in asking Morricone to compose a track for the final [[Mexican stand-off]] scene in the cemetery, asking him to compose what felt like "the corpses were laughing from inside their tombs", and asked Delli Colli to create a hypnotic whirling effect interspersed with dramatic extreme close-ups, to give the audience the impression of a visual ballet.<ref name="McGillagan154" /> Filming concluded in July 1966.<ref name="Hughes12" />

Eastwood was not initially pleased with the script and was concerned he might be upstaged by Wallach. "In the first film, I was alone," he told Leone. "In the second, we were two. Here we are three. If it goes on this way, in the next one I will be starring with the American cavalry."<ref name="McGillagan152">McGillagan (1999), p.152</ref> As Eastwood played hard-to-get in accepting the role (inflating his earnings up to $250,000, another [[Ferrari]]<ref name="Eliot250Ferar">Eliot (2009), p. 81</ref> and 10% of the profits in the United States when eventually released there), he was again encountering publicist disputes between Ruth Marsh, who urged him to accept the third film of the trilogy, and the [[William Morris Agency]] and [[Irving Leonard (financial adviser)|Irving Leonard]], who were unhappy with Marsh's influence on the actor.<ref name="McGillagan152" /> Eastwood banished Marsh from having any further influence in his career, and he was forced to sack her as his business manager via a letter sent by Frank Wells.<ref name="McGillagan152" /> For some time after, Eastwood's publicity was handled by Jerry Pam of Gutman and Pam.<ref name="McGillagan153">McGillagan (1999), p.153</ref> Throughout filming, Eastwood regularly socialised with actor [[Franco Nero]], who was filming ''[[Texas, Adios]]'' at the time.<ref name="Nero">{{Cite AV media |title=Texas, Adios (Franco Nero: Back In The Saddle) |medium=DVD |publisher=[[Blue Underground]] |location=Los Angeles, California |date=1966}}</ref>

Wallach and Eastwood flew to [[Madrid]] together, and between shooting scenes, Eastwood would relax and practice his golf swing.<ref name="McGillagan155">McGillagan (1999), p.155</ref> Wallach was almost poisoned during filming when he accidentally drank from a bottle of acid that a film technician had set next to his soda bottle. Wallach mentioned this in his autobiography<ref>[[Eli Wallach|Wallach, Eli]] (2005). ''The Good, the Bad and Me: In My Anecdotage'', p. 255</ref> and complained that while Leone was a brilliant director, he was very lax about ensuring the safety of his actors during dangerous scenes.<ref>Frayling (2000), pp. 169–170</ref> For instance, in one scene, where he was to be hanged after a pistol was fired, the horse underneath him was supposed to bolt. While the rope around Wallach's neck was severed, the horse was frightened a little too well. It galloped for about a mile with Wallach still mounted and his hands bound behind his back.<ref>Frayling (2000), p. 226</ref> The third time Wallach's life was threatened was during the scene where Mario Brega and he—who are chained together—jump out of a moving train. The jumping part went as planned, but Wallach's life was endangered when his character attempts to sever the chain binding him to the (now dead) soldier. Tuco places the body on the railroad tracks, waiting for the train to roll over the chain and sever it. Wallach, and presumably the entire film crew, were not aware of the heavy iron steps that jutted one foot out of every box car. If Wallach had stood up from his prone position at the wrong time, one of the jutting steps could have decapitated him.<ref>Frayling (2000), p. 225</ref>

The bridge in the film was constructed twice by [[sapper]]s of the Spanish army and rigged for on-camera explosive demolition. On the first occasion, an Italian camera operator signalled that he was ready to shoot, which was misconstrued by an army captain as the similar-sounding Spanish word meaning "start". Nobody was injured in the resulting explosion. The army rebuilt the bridge while other shots were filmed. As the bridge was not a prop, but a rather heavy and sturdy functional structure, powerful explosives were required to destroy it.<ref>Frayling (2000), pp. 210–211</ref> Leone said that this scene was, in part, inspired by [[Buster Keaton]]'s silent film ''[[The General (1926 film)|The General]]''.<ref name="The Good 2014" />

As an international cast was employed, actors performed in their native languages. Eastwood, Van Cleef, and Wallach spoke English and were dubbed into Italian for their debut release in Rome. For the American version, the lead acting voices were used, but supporting cast members were dubbed into English.<ref>Cumbow (2008) p.121</ref> The result is noticeable in the bad synchronisation of voices to lip movements on screen; none of the dialogue is completely in sync because Leone rarely shot his scenes with synchronised sound.<ref name="IGN">{{cite web |url=https://www.ign.com/articles/2009/05/29/the-good-the-bad-and-the-ugly-blu-ray-review |title=The Good, The Bad and the Ugly Blu-ray Review |website=[[IGN]] |author=Shaffer, R.L.|date=29 May 2009 |access-date=3 September 2014|archive-url=https://web.archive.org/web/20150403152156/http://www.ign.com/articles/2009/05/29/the-good-the-bad-and-the-ugly-blu-ray-review|archive-date=3 April 2015|url-status=live}} 28 May 2009</ref> Various reasons have been cited for this: Leone often liked to play Morricone's music over a scene and possibly shout things at the actors to get them in the mood. Leone cared more for visuals than dialogue (his English was limited at best). Given the technical limitations of the time, recording the sound cleanly would have been difficult in most of the extremely wide shots Leone frequently used. Also, it was standard practice in Italian films at this time to shoot silently and post-dub. Whatever the actual reason, all dialogue in the film was recorded in postproduction.<ref>Cumbow (2008) p.122</ref>

By the end of filming, Eastwood had finally had enough of Leone's perfectionist directorial traits. Leone insisted, often forcefully, on shooting scenes from many different angles, paying attention to the most minute of details, which often exhausted the actors.<ref name="McGillagan155" /> Leone, who was obese, prompted amusement through his excesses, and Eastwood found a way to deal with the stresses of being directed by him by making jokes about him and nicknamed him "[[Yosemite Sam]]" for his bad temper.<ref name="McGillagan155" /> After the film was completed, Eastwood never worked with Leone again, later turning down the role of Harmonica in ''[[Once Upon a Time in the West]]'' (1968), for which Leone had personally flown to Los Angeles to give him the script. The role eventually went to Charles Bronson.<ref name="McGillagan158">McGillagan (1999), p. 158</ref> Years later, Leone exacted his revenge upon Eastwood during the filming of ''[[Once Upon a Time in America]]'' when he described Eastwood's abilities as an actor as being like a block of marble or wax and inferior to the acting abilities of [[Robert De Niro]], saying, "Eastwood moves like a sleepwalker between explosions and hails of bullets, and he is always the same—a block of marble. Bobby, first of all, is an actor, and Clint first of all is a star. Bobby suffers and Clint yawns."<ref name="McGillagan159">McGillagan (1999), p. 159</ref> Eastwood later gave a friend the [[Poncho#Film|poncho]] he wore in the three films, where it was hung in a Mexican restaurant in [[Carmel, California]].<ref>Munn, p. 63</ref>