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Nice haircut

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    When it was released again or years later, it sold. The producers got their money back plus or times that and are crazy with joy. Totally unforeseeable. Well in the meantime, I had decided to leave the cinema. Not at all frustrated by not filming. Not at all. Because his life was full to the brim. Claude is a guy… well, it’s the one artist I worked with who best knew his music, be it classical or jazz, who was very profoundly… cultured. Who loved to eat, drink, live, who loved… women, who loved life. He was no workaholic at filming. He was happy when he didn’t make films. He wasn’t unhappy, he was overjoyed! It was me who pushed him, always telling him: “Listen, you have to do something!” Those producers were only open to make films about gangsters or adventure guys. No women. So… that was limiting. All that led to me being reduced to making an adventure film, “The Dictator’s Guns” which was at first sight an exercise… which I thought would be very easy to do and what turned out to be a very difficult misadventure. When I needed to have Lea Massari and when on a misunderstanding I got Sylva Koscina who was lacquered like concrete and that… shooting scenes on the high sea was very difficult. I had to beg for a boat in Spain where we lost at least, I don’t know, to weeks… That cost a fortune, there were Spaniards sitting on the beach. With nothing to do. It was a mistake. Firstly because I didn’t know… Then they told me that… filming on a sea that doesn’t move, that’s out of this world. It’s impossible to do and, when the Americans do that, They send two teams filming for months, They wait and see the material… and after that they need some perfected swimming pools to make all the effects, all that, we didn’t have. Result: enormous expenses. Well, that said, there are parts of that film that I love. I like it, anyway. But I realized that I was part of what they call the thing to avoid, to make a “imitation American film”. Something I had avoided in “The Big Risk

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