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(詳細はClint Eastwood rose to fame in the Dollars Trilogy which would break him into mainstream cinema in the United States. ==''A Fistful of Dollars'' (1964)== In late 1963, an offer was made to Eastwood's co-star Eric Fleming on ''Rawhide'' to star in an Italian made western, originally to be named ''The Magnificent Stranger'' (''A Fistful of Dollars'') to be directed in a remote region of Spain by a relative unknown at the time, Sergio Leone. However, the money was not much, and Fleming always set his sights high on Hollywood stardom, and rejected the offer immediately.〔McGillagan (1999), p.126〕 A variety of actors, including Charles Bronson, Steve Reeves, Richard Harrison, Frank Wolff, Henry Fonda, James Coburn and Ty Hardin〔(Relive the thrilling days of the Old West in film | TahoeBonanza.com ).〕 were considered for the main part in the film,〔(A Fistful of Dollars ).〕 and the producers established a list of lesser-known American actors, and asked the aforementioned Richard Harrison for advice. Harrison had suggested Clint Eastwood, whom he knew could play a cowboy convincingly. Harrison later said: "Maybe my greatest contribution to cinema was not doing ''Fistful of Dollars'', and recommending Clint for the part".〔(Richard Harrison interview ).〕 Leone watched ''Rawhide'' upon the advice of Claudia Sartori, an agent working at the William Morris Agency in Rome. He viewed Episode 91, ''Incident of the Black Sheep'', dubbed into Italian.〔 Leone intended to focus on Fleming, but claimed to find entirely distracted, watching Eastwood. Leone said, "What fascinated me about Clint, above all, was his external appearance. I noticed the lazy, laidback way he just came on and stole every single scene from Fleming. His laziness is what came over so clearly."〔 However, Leone's claim that he was entirely distracted by watching Eastwood is somewhat contradicted by the fact that, after Fleming turned down the role, he was urged by Sartori to rewatch the episode and to concentrate on Eastwood.〔McGillagan (1999), p.127〕 An offer was made to Eastwood through Irving Leonard. However, Ruth Marsh of the Marsh Agency, who had supported Clint since the 1950s, and his wife Maggie, conspired to manoeuvre past Leonard, when he had refused the funds to provide a reel of Eastwood in ''Rawhide'' to the Italian producers.〔 They sent a reel to Jolly Film and agent Filippo Fortini, who had agency contacts with actor Philippe Hersent, the husband of writer Geneviève Hersent and the Italian intermediary of the Marsh Agency.〔 Eastwood initially thought the same as Fleming. After all he was already in a Western and was tired of it, and wanted to take months off to play golf and relax.〔 However, he was urged to read the script: a lone stranger rides into a Mexican frontier town, controlled and fought over by two gangs, and double-crosses them by playing them off against each other, while accepting money from both sides. After just ten pages, Eastwood recognised that the script was based on Akira Kurosawa's ''Yojimbo''. Eastwood had initially described the dialogue as "atrocious", but thought the storyline was an intelligent one.〔 Seeing potential, Irving Leonard cut Fortini out of the deal, so that the William Morris Agency would receive credit.〔McGillagan (1999), p.128〕 The agreement offered Clint $15,000, an air ticket and paid expenses for 11 weeks of filming.〔 Eastwood saw it as an opportunity to escape Rawhide and the states and saw it as a paid vacation and signed the contract which also threw in a bonus of a Mercedes automobile upon completion.〔 Having never met Leone in advance, Eastwood arrived in Rome in May 1964 (more likely in March or April 1964, since Eastwood was scheduled to shoot a scene ("interno miniera") with Josef Egger on April 2 at Grotte di Salone (Rome), and, furthermore, a candid photo of him and Marianna Koch, announcing the shooting on the film, appeared in the April 2 issue of the Italian newspaper L'Unita; see booklet (pages 44–45) accompanying the Per un pugno di dollari (collector's edition versione restaurata) Blu-ray disk AND see http://archivio.unita.it/ ) and was met by the Marsh agency contact there, writer Geneviève Hersent, rather than Fortini, along with Leone's assistants and a few journalists.〔 Eastwood met Leone later that day. Leone showed distaste for Eastwood's all-American style of dress, but was more impressed with meeting him in the flesh than seeing him on TV. Leone recollected, "Clint arrived, dressed with exactly the same bad taste as American students. I didn't care. It was his face and his way of walking that I was interested in".〔McGillagan (1999), p.129〕 Eastwood was instrumental in creating the Man With No Name character's distinctive visual style, that would appear throughout the ''Dollars'' trilogy. He had brought with him black jeans, purchased from a shop on Hollywood Boulevard, which he had bleached out and roughened up, a hat from a Santa Monica wardrobe firm, a leather bracelet and two Indian leather cases with two serpents,〔〔McGillagan (1999), p.131〕 and the trademark black cigars came from a Beverly Hills shop, though Eastwood himself is a non-smoker and hated the smell of cigar smoke.〔McGillagan (1999), p.132〕 Leone decided to use them in the film, and heavily emphasised the "look" of the mysterious stranger to appear in the film. Leone commented, "The truth is that I needed a mask more than an actor, and Eastwood at the time only had two facial expressions: one with the hat, and one without it".〔〔(Italian only) http://www.cinemadelsilenzio.it/index.php?mod=interview&id=17〕 Eastwood said about playing the Man With No Name character in the film, The first interiors for the film were shot at the Cinecittà studio on the outskirts of Rome, before quickly moving to a small village (Tabernas) in Andalucia, Spain in an area also used for filming ''Lawrence of Arabia'' (1962) a few years earlier.〔McGillagan (1999), p.134〕 This would become a benchmark in the development of the spaghetti westerns. Leone would successfully create a new icon of a western hero, depicting a more lawless and desolate world than in traditional westerns. The trilogy would also redefine the stereotypical American image of a western hero and cowboy, creating a character gunslinger and bounty hunter, which was more of an anti hero than a hero and with a distinct moral ambiguity, unlike traditional heroes of western cinema in the United States, such as John Wayne. Since the film was an Italian/German/Spanish co-production, there were major language barriers on the set. Eastwood mostly communicated with the Italian cast and crew through stuntman Benito Stefanelli, who acted as an interpreter for the production. The cast and crew stayed on location in Spain for nearly eleven weeks, during which Eastwood's wife Maggie came over for a visit. She found time to take a break in Toledo, Segovia and Madrid and regularly read ''Time magazine''.〔McGillagan (1999), p.137〕 Promoting ''A Fistful of Dollars'' was difficult, because no major distributor wanted to take a chance on a faux-Western and an unknown director. The film ended up being released in September, which is typically the worst month for sales. The film was shunned by the Italian critics, who gave it extremely negative reviews. However, at a grassroots level, its popularity spread, and it grossed $4 million in Italy, about three billion lire. American critics felt quite differently from their Italian counterparts, with ''Variety'' praising it as "a James Bondian vigor and tongue-in-cheek approach that was sure to capture both sophisticates and average cinema patrons".〔McGillagan (1999), p.144〕 The release of the film was delayed in the United States, because distributors feared being sued by Kurosawa. As a result, it was not shown in American cinemas until 1967.〔 This made it difficult for the American public or Hollywood to understand what was happening to Clint in Italy at the time. An American actor making films in Italy met with considerable prejudice, and was seen in Hollywood as taking a step backward, rather than a career development.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Clint Eastwood in the 1960s」の詳細全文を読む スポンサード リンク
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