Newsgroup: it.politica
Titolo: “Noemi è la pupilla, io sono il culo”.

“Noemi è la pupilla, io sono il culo”.
 
Basterebbe questa frase detta al telefono a un amico per chiarire
quale fosse la considerazione che Ruby aveva di sé stessa.
 
E’ l’8 ottobre 2010 e la ragazza chiama Antonio Passaro, un modello
con una laurea in Giurisprudenza, di cui è innamorata. I due scherzano
su come lei chiama il Cavaliere: “Lo chiami zio? Lo chiami nonno?”.
“No, lo chiamo Papi”. “Ah – dice l’uomo – come la napoletana?” e la
invano spacciata nipote di Mubarak: “…No, io sono un’altra cosa…
Quella (Noemi, ndr) era la pupilla… Io sono il culo…”.
 
Quando Passaro aveva poi testimoniato in aula, il 15 giugno 2012,
aveva raccontato un episodio che la dice lunga su come la ragazza
interpretasse la relazione tra sesso e denaro: ”Ruby mi ha offerto 4
mila euro a settimana perché avessi rapporti sessuali con lei, era lei
che voleva pagare me, ma io non le credevo, non credevo a niente di
quello che diceva”.
 
“Rubbi Troia, Papi Silvio Berlusconi”. Nel corso delle indagini gli
agenti della Polizia giudiziaria dalla rubrica estratta dalla sim di
Michelle (che la notte tra il 27 e il 28 maggio del 2010 si precipitò
insieme alla Minetti in Questura per ottenerne il rilascio di Ruby e
portala a casa sua, ndr) e sequestrata 12 luglio del 2010 vennero
fuori nomi un po’ strambi. Oltre al numero del Cavaliere e della sua
casa romana, dell’allora agente dei vip Lele Mora, c’è una sfilza di
nomi femminili accompagnati dalle espressioni “troia” e “puttana”. E
accanto al nome Rubbi c’è parola “troia” come accanto ad altri nomi
c’è “puttana”.
 
Il pm Fiorillo: “Sospettai che fosse una prostituta”. A sospettare che
Ruby potesse essere una prostituta fu anche Annamaria Fiorillo, il pm
minorile, che quella notte di maggio ordinò che la ragazza fosse
affidata a una comunità. Sentita in aula il 4 marzo scorso come teste
il magistrato ha dichiarato: “Cafaro (l’agente che per primo entrò in
contatto con Ruby, ndr) mi disse che c’erano due versioni. La derubata
(Caterina Pasquino, ndr) sosteneva di avere incontrato Ruby in
discoteca, di averla ospitata a dormire a casa sua e che lei le aveva
rubato 3mila euro. La minorenne diceva che era da molto tempo a casa
della Pasquino, che le pagava l’affitto e che c’erano stati diverbi
tra loro due. Cafaro aggiunse che era scappata da una comunità. La
ragazza gli disse che per pagare l’affitto faceva la danza del ventre.
Sospettai subito che la ragazza facesse la prostituta e diedi
disposizioni per collocarla in comunità e che prima venisse
fotosegnalata. Era necessario fare luce anche sulla notizia di reato
del furto”.

........
 
Perché parli sempre di culo vecchio degenerato ebete mentecatto megalomane
fallito ernestcul del Cul Cul Clan.
 
it.politica non é un privé per culattoni e preferisco parlare di gnocca.
 
 
 
................................................................
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Sunday, May 12, 2013
INTERVIEW WITH ‘MY NAME IS NOBODY’ WRITER ERNESTO GASTALDI
 
 
I became aware of the work of the talented and prolific Italian
screenwriter Ernesto Gastaldi as I prepared to do audio commentary,
with fellow western writer C. Courtney Joyner, for Blue Underground’s
DVD release of Gastaldi’s THE GRAND DUEL, starring Lee Van Cleef (you
can read my review HERE.)
 
 
The auteur theory of film, which deifies the director, often ignores
the fact that the words have to come from someone, and Mr. Gastaldi’s
words have illuminated many of the best European Westerns and Giallo
(literally ‘thrilling’movies); he has more than 120 produced movies to
his credit.  We exchanged a few emails after I did the commentary, and
to my delight, he agreed to an email interview about his westerns for
the Round-up.
 
In preparing my questions, the hardest part of my research was
identifying his films from the maze of alternate titles.  I was
reminded that in February I had been talking to Spaghetti Western star
Giuliano Gemma at the Los Angeles Italia Fest, about his favorites
among his own westerns.  He was talking about MAN FROM NOWHERE and I
was talking about Gastaldi’s ARIZONA COLT, and it took us a minute to
realize we were talking about the same movie.
 
I finally put every Euro-western DVD I had in the player to read the
writing credits – and I was startled to realize how many of my
favorites were written by Ernesto Gastaldi.  I emailed my questions to
Ernesto late on Thursday night, and to my great surprise, on Friday
afternoon, all of my answers were waiting for me.  Here, then, is my
interview.
 
HENRY: What is the first movie you remember seeing?
 
ERNESTO: Maybe L’ASSEDIO DELL’ALCAZAR by Augusto Genina. I was 6.
(Note: an Italian war film about the famous Siege of Alcazar during
the Spanish Civil War; winner of the Mussolini Cup at the Venice Film
Festival)
 
HENRY: When did you know that you wanted to make movies?
 
ERNESTO: After RASHOMON by Kurosawa.
 
HENRY: In 1957 you graduated from Centro Sperimentale di
Cinematografia of Roma with degrees in direction and screenwriting.
In the United States, ‘film school’ was practically unheard of until
the early 1970s.  What were the most important things you learned in
your film studies?
 
ERNESTO: CSC allowed me to stay in Rome and meet people. One good prof
was the director Alessandro Blasetti. (Note: the founder of the
school, he directed his first film in 1917, and he continued directing
until 1981.)
 
 
 
The young writer and director.
 
HENRY: In 1960 you were writer and assistant director on THE VAMPIRE
AND THE BALLERINA.  Was that your first movie?  How did you get the
job?
 
ERNESTO: In 1959, at Christmas, I was assistant director of Renato
Polselli in that movie: we wrote the script together.  Renato was
fiancé of a girl I met at CSC.
 
HENRY: How did it feel to hear actors saying your dialogue for the
first time?
 
ERNESTO: Having been on the set, not so much...
 
HENRY: In the first three years of your screenwriting career, 1960
through 1962, you worked on nineteen movies – horror movies, pirate
movies, comedies, gladiator movies.  Were you under contract?
 
ERNESTO: In Italy no writers were under contract. I wrote for many
different producers.
 
HENRY: Where did the projects come from?  What genres did you prefer?
 
ERNESTO: I like all commercial genres.
 
HENRY: With THE HORRIBLE DR. HITCHCOCK you started using the pseudonym
Julian Barry on certain films.  Why?
 
ERNESTO: Italian producers preferred to pretend your movies were
American.
 
HENRY: In 1965 you did uncredited script work on BUFFALO BILL,
starring Gordon Scott.  Was that your first western?
 
ERNESTO: The first Italian western was COWBOY'S STORY by (19 year old)
Peppo Sacchi, in 1953. I was on the set as visitor. BUFFALO BILL
wasn't a real Italian western.
 
HENRY: Were you a fan of westerns as a boy?
 
ERNESTO: No, but I liked them.
 
HENRY: Who were your favorite cowboy actors growing up?
 
ERNESTO: Gary Cooper.
 
HENRY: What western writers or filmmakers influenced you?
 
ERNESTO: Nobody.
 
 
 
HENRY: It was another year and fourteen movies – a lot of spy
thrillers among them – before you made another western, and it was the
excellent ARIZONA COLT.  You established that perfect balance of
western adventure and humor that would be seen in much of your western
work.  Was ARIZONA COLT your idea, or was it brought to you?
 
ERNESTO: Duccio Tessari (A PISTOL FOR RINGO) invented the humorous
western; Sergio Leone followed and I too.
 
HENRY: Giuliano Gemma had made the RINGO films and several other
westerns by then.  Did you write ARIZONA COLT with him in mind, or was
he cast after it was written?
 
Colt and his sidekick, Whiskey
 
 
Fernando Sancho as Gordo
 
ERNESTO: I knew, while I was writing the script, that Giuliano Gemma
would be Arizona Colt.
 
HENRY: You have written five movies that Giuliano Gemma starred in.
Which was your favorite?
 
ERNESTO: I think I GIORNI DELL’IRA (DAY OF ANGER) by Tonino Valerii.
 
HENRY: Did you write any westerns, and then try to sell them, or did
you write on assignment?
 
ERNESTO: I wrote almost always on assignment.
 
HENRY: In 1966 you co-wrote $1,000 ON THE BLACK, creating the hugely
popular character of ‘Sartana’ for Gianni Garko.  You would write
several more ‘Sartana’ movies for Garko.  Why do you think the
character became so popular?
 
ERNESTO: The name ‘Sartana’ had a big success; I don't know why. Many
different actors acted ‘Sartana’!
 
HENRY: How did you like Garko?
 
ERNESTO: Garko has been a very good ‘Sartana’.
 
HENRY: You were writing movies that you knew would be translated into
many languages.  Did that knowledge affect your approach to the
writing?  Did you try to tell the stories more visually?
 
ERNESTO: When I write I think just to the story, no cares about actors
or other conditions.
 
HENRY: There are often five or six writers credited on Italian films.
Why were there so many?
 
ERNESTO: I wrote my scripts alone, rarely with one friend. Many names
you see in credits are fake, to justify coproductions.
 
HENRY: In 1967 you wrote a ‘Django’ film, $10,000 FOR A MASSACRE, and
your first western for Lee Van Cleef, DAY OF ANGER.  Lee was now a big
international star.  Did that change anything in your writing?  Did
stars try to tell you how to write for them?
 
ERNESTO: No. As I (said before), when I write I think just to the
story.
 
HENRY: In 1967 you earned a degree in economics.  Why did you decide
to go back to school, and why did you choose economics?
 
ERNESTO: I started economics studies in Torino in 1953, well before I
imagined writing movies. Then I interrupted them for years. In 1965
the Roman University, where I shifted (to) in 1955, asked me to finish
or renounce forever. I finished, passing 20 tests in few months.
 
HENRY: Did you spend time on the sets of films you were writing?
 
ERNESTO: I almost never went to sets. Too much to write in those
periods!
 
HENRY: Were you asked to make script changes during production?
 
ERNESTO: Yes, but really few times.
 
HENRY: I have spoken to several European Western stars who complained
that many producers were dishonest.  Did you ever have trouble getting
paid for your work?
 
ERNESTO: Once.  Screenwriters were the first people to be paid.
 
HENRY: In 1968 you made the first of your seven films with George
Hilton, with ONE MORE TO HELL, also known as FULL HOUSE FOR THE
DEVIL.  You must have had a good relationship.
 
 
Title card from FULL HOUSE FOR THE DEVIL
 
ERNESTO: George Hilton is one of my good friends.
 
HENRY: In 1970 you made ARIZONA COLT RETURNS, with Anthony Steffen
taking Gemma’s role.  How well do you think he did, and why did it
take four years to do a COLT sequel?
 
ERNESTO: The second COLT wasn't a real sequel. The title had been
decided by the producer, not by me.
 
HENRY: Did you have favorite directors and favorite actors?
 
ERNESTO: Favorite directors: Tonino Valerii (MY NAME IS NOBODY; DAY OF
ANGER; A REASON TO LIVE, A REASON TO DIE; THE PRICE OF POWER),  Sergio
Martino (ARIZONA COLT RETURNS; $10,000 FOR A MASSACRE; VENGEANCE IS
MINE), and Sergio Leone. Favorite actors: Tony Quinn (note: in 1988
Gastaldi wrote STRADIVARI, starring Anthony Quinn as the violin-
maker), Henry Fonda, Lee Van Cleef, Alan Collins (note: his real name
is Luciano Pigozzi.  Known as the ‘Italian Peter Lorre,’ he appeared
in IT CAN BE DONE, AMIGO, and nearly a dozen gialli written by
Gastaldi).
 
HENRY: How long did you usually take to write a western?  Would a
giallo take more time or less time?
 
ERNESTO: Usually I wrote a script in one month: western or giallo are
the same. Of course when I worked with Sergio Leone I spent 8 months
to write MY NAME IS NOBODY.
 
HENRY: In 1972 you wrote the very enjoyable western comedy IT CAN BE
DONE, AMIGO, starring Bud Spencer and Jack Palance, and from the
ARIZONA COLT films, Roberto Camadiel.
 
Bud Spencer and Jack Palance in IT CAN BE DONE, AMIGO
 
ERNESTO: I wrote SI PUO FARE, AMIGO because Bud Spencer had to be
forgiven, and compensate the (production company) SancroSiap.  (He
had) told one story of mine, paid for by SancroSiap, to director
(Enzo) Barboni, from which he made the film THEY CALL ME TRINITY. To
avoid a lawsuit, Bud worked for free.
 
HENRY: Also in 1972 you wrote REVENGE OF THE RESURRECTED, also called
PREY OF VULTURES, for Peter Lee Lawrence, a western mystery.  Did you
enjoy combining those two genres?
 
ERNESTO: I do not remember anything about that movie
 
HENRY: You next wrote A REASON TO LIVE, A REASON TO DIE, for James
Coburn, Telly Savalas, and Bud Spencer, three big stars. Your fourth
western of 1972 was THE GRAND DUEL, one of my favorites, as you know.
Again it is an elegant blend of western action and humor.  This was
getting very late in the time of the European western.  Did you have
any sense that they would soon disappear?
 
ERNESTO: IL GRANDE DUELLO – I wrote this movie during my collaboration
with Sergio Leone, which lasted 3 years. No, I hadn't any sense that
western movies were at their end.
 
Dentice watches Van Cleef in GRAND DUEL
 
HENRY: Starring opposite Lee Van Cleef is Alberto Dentice, who is very
good, and yet he never did another movie.  Were you making a reference
to John Ford and John Wayne is the stagecoach sequence, which reminded
me very much of STAGECOACH?
 
ERNESTO: No. I just invented a new story.
 
HENRY: In 1973 you wrote one of your best-known films, MY NAME IS
NOBODY, starring Terence Hill and the great Henry Fonda.  What was it
like to work with Sergio Leone?
 
ERNESTO: I met Sergio Leone when he had just the title MY NAME IS
NOBODY. I worked for 8 months, going every day to Sergio’s home to
read him the scenes I had written at night. To see Henry Fonda saying
my dialogues has been a real emotion.
 
MY NAME IS NOBODY - Henry Fonda
 
HENRY: How much of the movie did he actually direct?
 
ERNESTO: Sergio Leone directed just two little scenes of MY NAME IS
NOBODY.  The only director was my friend Tonino Valerii.
 
MY NAME IS NOBODY -Terence Hill
 
HENRY: LA PUPA DEL GANGSTER (1975) starred Sophia Loren and Marcello
Mastroianni.   It is a comedy, based on a story by the very ‘noir’
Cornell Woolrich.  Did the story start out as a comedy?
 
ERNESTO: LA PUPA DEL GANGSTER (was to star) Monica Vitti, but the
script so pleased Sophia Loren, wife of film producer Carlo Ponti,
(that she) wanted to act in it.
 
HENRY: In 1975 you wrote another comedy-western for Terence Hill, A
GENIUS, TWO FRIENDS AND AN IDIOT.  It was directed by the usually very
serious Damiano Damiani.  How was he to work with?
 
ERNESTO: Damiano Damiani was not able to direct a movie (as) complex
and ironic as it was in the script, and he ruined everything.
 
HENRY: Was this your last western?
 
ERNESTO: I wrote, with my daughter, a new ‘almost’ western story,
called TOWN & COUNTRY, located in the US; too expensive for our dead
cinema industry.
 
HENRY: Eleven years after NOBODY, you did script work on ONCE UPON A
TIME IN AMERICA.  How was it to work with Sergio Leone again?
 
ERNESTO: I worked very well with Sergio, but in my treatment of ONCE
UPON A TIME IN AMERICA, the young criminal does not become a senator!
 
HENRY: What do you think of recent westerns, like TRUE GRIT and DJANGO
UNCHAINED?
 
ERNESTO: I liked very much DJANGO UNCHAINED! I have found a lot of
Sergio Leone style and some parfum of my western scenes.
 
Ernesto with wife, Mara Maryl, in Hawaii
 
HENRY: You have directed several films, many with your wife, actress
and writer Mara Maryl.  Given the choice, do you prefer to write or
direct?
 
ERNESTO: I prefer to write.
You can purchase many of Ernesto Gastaldi’s films.  GRAND DUEL is
available from Blue Underground, as are many of his gialli, HERE,
ARIZONA COLT, ARIZONA COLT – HIRED GUN, REVENGE OF THE RESURRECTED, IT
CAN BE DONE -- AMIGO, and FULL HOUSE FOR THE DEVIL are available, some
in double bills, from Wild East Productions HERE.  MY NAME IS NOBODY
is available from lots of outfits – check out Amazon.
=======================================
 
 

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
SE...TU LA GNOCCA LA VEDI CON IL BINOCOLO, BASTA DIRE CHE TI SEI
SLOGATO UN POLSO A FURIA DI FARTI DELLE SEGHE............EVVAI...........


INTERVIEW WITH =91MY NAME IS NOBODY=92 WRITER ERNESTO GASTALDI
 
IL MAESTRO DEL CINEMA MONNEZZA, MAESTRO DI VITA E TUTORE DELLA MORALE
=====================================================================
 
Degenerato che filma la moglie nuda e mentre viene trombata in serie e 
si invaghisce di uno dei coatti che l'hanno trombata e si fa una nottata 
di passione con un boro nella camera matrimoniale mentre il marito 
passeggia nella cucina al piano sottostante.
 
Solo un pervertito degenerato fa filmacci di famiglia di questo genere 
con la moglie firmataria del manifesto per i froci:
 
http://mondoqueer.tripod.com/ComunicatiStampa/5865CODS01.html
 
 
eMule>Qualsiasi>cerca:  Cinema monnezza
 
e si trova il tuo cinema monezza e le foto delle indecenti scene con 
tua moglie nuda e quelle mentre veniva trombata in serie da altri 
bori come te.
 
Bella roba per chi come te é privo di statura morale e ardisce 
esibirsi come tutore della morale e Maestro di vita .... 
 
Del resto un Cul Cul Clan che cosa altro avrebbe potuto concepire?
 
La misura del tuo insuccesso che ti fa schiattare di invidia e bile é 
data dalle tue dichiarazioni dei redditi da morto di fame:
 
eMule>Qualsiasi>cerca: Cinema monnezza 
 
Ci sono anche le dichiarazione dei redditi
Agenzia entrate Roma 2005.zip - si trova anche come .zipx e .txt
 
Buffone paranoico maniaco megalomane fallito mendace tuttologo 
millantatore:
 
ERNESTO:-25/8/99 Mmmmiliardi amico mio, mmmmiliardi! Guadagnati, 
sempre dopo mezzanotte,con la sola arte dello scrivere! Pensa, una 
macchinetta da scrivere, un nastruccio e una risma di extra strong, un
pacchetto di sigarette, un wisketto e un bella ragazza (poi ella 
moglie...) e la risma bianca mmmmmliardi diventava, mmmmiliardi. Alla 
faccia di quei kkkkolleoni senza alcun talento che si sono lasciati 
schiavizzare sotto padrone per 8 o più ore al giorno per tutta la vita,
minchia!
 
-27/4/2002 Solo gli STRONZI o i ricattati dai padroni lavorano.
 
-17/6/2001 Pensa come sono stato bravo: ho venduto copioni spazzatura 
anche per UN MILIARDO l'uno! Non male eh? E dovresti vedere i soldi 
che mi dava Sergio Leone affinchè gli scrivessi spazzatura per i film che 
produceva.... una favola! E.
 
[Bravo Kompagno !  Miliardi, valanghe di titoli in borsa, obbligazioni 
al 10-1/8%, vacanze abituali nella proprietà alle Hawaii, Yacht a due 
alberi, ecc. ecc. e casa acquistata dichiarando un prezzo inferiore 
falso per 'risparmiare' imposte di registro e catastali.  
 
Che dire ?  ]
 
-8/9/2000 Una sola notazione: a volte,  per quello che scrivo, produttori
di film mi danno un milione a pagina. A te quanto danno?
 
Vecchio delirante malato di mente, fatti curare.
