January February March April May June
July August September October November December
Sunken treasures await your re-discovery: Blog 2016 / Blog 2017
"I always keep my word, I'll send him right where he told me to go ...HELL!"
March 2018
This Blog will be offering a colorful kaleidoscope of movie magic for cinema aficionados.
Crispy peanuts, thin-skinned baloons and thrilling sensations on celluloid.
See offbeat goodies and magic crumbs ...weekly!
The Reality behind the Fantasy! - The Story behind the Spectacle!
No inflated endlessly long stories, but short and crisp. 
'This is Helmet time!'
Photos beat content!
Welcome to the manege of madness! - Have a pleasant trip!

Without any doubt, the 'Sea Wolves' of director Andrew V. McLaglen have gray hair, rickety teeth and do not have the 
powerful wing beat of his 'The Wild Geese', so what?
For me it is pretty captivating to see the old pros again and how they battle with the unimaginative staging!
The film reunited much of the cast and crew from 1978's 'The Wild Geese', including special effects Supervisor
Kit West, producer Euan Lloyd, designer Syd Cain, and composer Roy Budd.
Halfway fit pensioners (veterans) take on a final mission.
Some might call this boring. I like the slow pace and all the predictable show elements.
Quiet and cozy and yet sometimes gripping!
The on set physical effects work was handled by Kit West ('The Wild Geese', 'Dune') and his buddy of the 
old 'Bowie Studio' days, Nick Allder, assisted by the special effect technicians Terry Glass and Gerry Johnston.
The British special effects master Wally Veevers was there to run the miniature sequence with 
the ship models (see screenshots).
Wally Veevers (1917–1983) is best known for his work on the model side of Kubrick's '2001' and for 
'The Guns of Navarone', 'Battle of Britain' and with credits going back to the 1930s.
The model show for 'The Sea Wolves' is surely not his best work, but the miniature sequence is well staged as
a night scene filmed from a deep camera position (Pinewood pool?).
6-7/10
The models were probably not very big, unfavorable in scale.
The calm sea and the ship's model do not really harmonize at the highest level. 
Director Andrew V. McLaglen and his bearded special effects wizard Kit West (1936-2016) enjoy a little boat trip 
in Goa, India, on location for 'The Sea Wolves'.
Kit once told me that he really enjoyed the trip into the old Hippie hot spot Goa.
The cast and crew often sat together for some drinks and stories.
That must have been one happy little adventure.
Roger Moore with Director Andrew V. McLaglen on location in Goa.
Only fruit juices were drunk, maybe with a tiny splash of alcohol ... lol.

The Italian make up maestro Otello Fava (1915-1984) would like to rub Marisa Mell with oil, 
so that her skin shines beautifully.
There are only a few photos in circulation where Marisa laughs so heartily. What happened there?
Otello (right) probably suggested to her that without bikini it would be much easier...!
'Diabolik' (1968) is pure fun. A Pop Art Party!
A brightly colored comic with sportive cinematography, cheerful set design and visual elegance.
The movie of Director Mario Bava gives you an overwhelming feeling of great happiness.
Stunningly effective, a bang-up production with some good vibrations!
Marisa Mell, over-sugared with makeup by Otello Fava. Mmmh...
Otello Fava, an Italian makeup wizard - We look back on a career that spanned more than 40 years.
Eva Kant, freshly oiled by Otello Fava, and Diabolik (John Phillip Law) - 'Diabolik' screenshot.
American Lobby Card - Eva and Diabolik
The talented and highly esteemed makeup artist Otello Fava worked for many of the internationally
respected Italian Directors, like Mario Bava, Michelangelo Antonioni or Federico Fellini.
He was the key makeup wizard for Fellinis masterpieces 'La dolce vita' (1960) and '8½' (1963).
Mario Bava probably got to know Otello Fava on the Set of 'The Giant of Marathon', 1959.
In 1963 Bava hired him for the first time as makeup expert for his scary trio of atmospheric horror tales,
'Black Sabbath' ('I tre volti della paura').
In the course of time Otello Fava did the makeup for several fast produced cheesy 'Peplums' like 'I due gladiatori' (1964).
On the left you see the german poster of that flick, designed by the great Lutz Peltzer.
Despite the incredible amount of hurriedly glued together 'Spaghetti Western', Fava was only involved in 
one single production.
He did the makeup for the neat Damiano Damiani spaghetti western 'A Bullet for the General'. 
The often tiny budget forced some 'Spaghetti Western' directors to get along without trained makeup artists and 
special effects experts.
For the thrilling Alberto Lattuada War movie 'Fräulein Doktor' (1969) Otello Fava designed a creepy special makeup effect.
After a gas attack, the skin of the inadequately protected soldiers dissolves in strips from the hands.
For a behind-the-scenes report about the making of 'Fräulein Doktor' you should check out this:
The Poison Gas Battle at Ypres.
Lattuada appreciated the skills of Otello Fava since the 40s and hired him for various film productions.
Another Dino de Laurentiis production with makeup designed by Otello Fava is the Michele Lupo buddy thriller 
'La Pistola', 1973. A simple little routine job.
The cool poster was painted by the versatile German movie poster painter Lutz Peltzer (photo on the right).
Peltzer (like Fava) was in the business since the 40s!
In his studio he created numerous great posters for colossal epics and dirty little Genre movies.
Many of his posters are today sought-after collectibles.
The strange and scruffy movie 'Faccia di Spia' (1975) was a real challenge for Otello Fava. 
The bumbling film about the questionable methods of the CIA and their close relationships with military dictators and 
wildly determined terrorist groups, directed by Giuseppe Ferrara, required all his skills.
Brutal torture scenes, massacres and bomb explosions, the list of elaborate makeup effects (prosthetics) is a long one.
Stefano Fava (1953–2011), the son of Otello Fava and like his father a successful makeup artist, 
was in the makeup crew to assist his dad.
The cheap charm of the 'overcooked' bloody effects is a true trademark of almost all Italian exploitation films.
Their Fake blood was always the worst of all!
'Faccia di Spia' is poorly staged, a cheap series of effects held together by a meager story.
On the other hand, you have to say, it is a pretty brave movie ...on different levels.
'Faccia di Spia' - A lot of work for the makeup department.
Probably the most laborious and elaborate job Otello Fava ever had.
Many extras had to be prepared for their appearance as a bloody corpse.
At outdoor shoots, Otello was always there with a bucket of fake blood for the final makeup touch.
Dolls had to be prepared, prosthetic appliances and much more.
The actors play suitable greasy and dirty.
George Ardisson, Francisco Rabal, Claudio Camaso and Lou Castel as a weirdo torturer.
But only this picture remains in memory, blood slowly runs down the facade of the World Trade Center.
At the end of his remarkable career Otello Fava did the makeup for two cheap post-apocalyptic trash movies.
Together with his son Stefano Fava he worked for 'Warrior of the Lost World' and 'She'.
After the death of his father Stefano continued to work as a makeup expert for numerous Italian productions and 
several international films such as the Michael Mann Western 'The Last of the Mohicans' (1992) or the 
Martin Scorsese film 'Gangs of New York' (2002).
For all those who want to learn more about the makeup artist Otello Fava, there is a book available 
covering his time in the movie business:
'Otello Fava. Divi, maschere e belletti. Diario di un truccatore'.

Your comments are always welcome!
Trust me, I know what I'm doing. Sometimes.

The contract signing by Sophia Loren, a very happy day for the producer Samuel Bronston.
He was able to convince Sophia Loren, to play the role of Lucilla in his new epic 'The Fall of the Roman Empire'.
Standing, from left to right, Producer Samuel Bronston, executive associate producer Michal Waszynski and 
associate producer Jaime Prades.
A seemingly happy Sophia Loren talks to actor Mel Ferrer, who also plays a role in the epic which boasted a superior cast.
The director Anthony Mann (right) also stops by to congratulate - Bronston Office, Chamartin.
The photos all have a date stamp dated February 20, 1963. 
I wonder about that, because the actual shooting began on January 14, 1963 with the filming of the opening scenes 
in the Sierra Guadarrama mountains.
Did Sophia sign so late?
The press people were thrilled!
The newspapers were full of reports about Sophia Loren and the new Bronston movie.
When Sophia Loren arrived at Madrid airport to begin her role of Lucilla, the airport almost came to a standstill 
as she was greeted enthusiastically by hundreds of screaming fans.
Associate producer Jaime Prades ('Los monstruos del terror') explains the mighty Roman Forum, 
the biggest star of the movie.
A colossal three-dimensional Set designed by John Moore and Veniero Colasanti.
The magnificent set was built on the plains of Las Matas (Madrid).
Is this the wife of Samuel Bronston standing on the left of Jaime Prades?
Producer Jaime Prades was a regular in the Bronston production team ('King of Kings', 'El Cid').
With the help of Sam Bronston he produced the Hugo Fregonese western 'Savage Pampas'.
The last movie he produced was the cult trash movie, 'Los monstruos del terror', with Paul Naschy, Michael Rennie, 
Karin Dor and Craig Hill.
See more of the Ultra Panavision 70 masterpiece 'The Fall of the Roman Empire' here: Chariot Duel.

The renowned Spanish director, writer, producer and actor Carlos Saura on Set near Mota del Cuervo (Spain) 
for a scene with Geraldine Chaplin.
Which movie is this about?
Looking at Geraldine I would guess somewhere around the time of the 'Peppermint Frappé' production.
In the web I found the information that this photo might show the production of a Spanish TV series named 'Double Image', 
but I have never heard about that show.
Does anyone know something about it?
Kodak 2.25 transparency out of my box with unidentified material.
The transparencies I got from a spanish archive are all very professionally prepared.
All transparencies are individually secured in a plastic protective case and in a frame of thin cardboard.
The quality of the 40-50 year old pictures is excellent.
Not the typical B-crap you get on ebay!
But the essential information is missing on almost all my transparencies from the source.
Who are the persons depicted? Which film production is being worked on here?
This can be frustrating, but whenever I have time, I like to dig in the box ...

Costume Test for Jimena (Sophia Loren), 1960.
The elegant and noble costumes of Sophia Loren were all artfully designed by Veniero Colasanti and John Moore.
The meticulously working team of production designers was not only responsible for the design of the costumes, 
but also for Set design and the overall design of the movie.
The outstanding work of Colasanti and Moore on 'El Cid' was nominated for an Oscar in 1962 for best Art Direction, Set Decoration.
Another elegant costume for Sophia Loren with fine details.
It is not perfect yet. Behind her, someone of the Costume and Wardrobe Department is still working on the costume.
Head of the Department was Gloria Musetta ('Barbarella').
'Sophia, how does it look like, can we ...?'
Sophia Loren was paid one million dollars for ten weeks' work. 
Samuel Bronston also agreed to pay 200 dollars a week for her hairdresser (pictured here?).
Close to 10,000 costumes were designed and mainly made by hand for the roadshow epic.
Costume Test for Sophia Loren, 1960.
The famous designers Veniero Colasanti (1910–1996) and John Moore (dark jacket) have a look at one of their costume designs.
An elaborate costume for Jimena with fine embroidered ornaments.
Sophia Loren is ready for filming.
After the Costume test, small changes were made. The noble robe got a new jeweled belt.
There was always someone on the set for the costumes, hair and makeup during the shoot of the day.
In addition to the costly costumes, more than 40,000 dollars was budgeted for jeweled crowns, rings, and scepters 
from Italy and Spain.
More than 150,000 dollars was spent on reproductions of candelabras, tapestries, and art of the Medieval Era.
Several stories about the big Bronston 70mm monumental roadshows can be found on my blog and websites. 
(35mm Kodachrome Slides from the www.moon-city-garbage.agency archive)

Errol Flynn during a break on Set in the Lasky Mesa (California) for 'They Died with their boots on' studying the screenplay.
Always at his side, his beloved Schnauzer Arno. 
Errol loved women, booze, brawling ...and dogs!
Arno was a standard Schnauzer accompanying Flynn on the 'Custer' sets, 
barking excitedly and happily whenever director Raoul Walsh cried 'cut' and he knew that the filming was over 
and he could have the attention of his buddy.
The free spirit Biopic Western of the early 40s, directed by Walsh, delights with strong black-and-white pictures and 
great staged battle scenes.
It has a fine monumental epic Flair.
The Camera of Hollywood veteran Bert Glennon (1893–1967) is always leading the column.
Several great moments and powerful scenes accompanied by a matching Max Steiner Score ...and 
Anthony Quinn as Crazy Horse. More is almost impossible!
Easily Errol Flynn's best Western! 
A very successful film in 1941 and still gripping in 2018!
Great Entertainment!
8/10
His over fifty-year directing career made Raoul Walsh (1887–1980) a Hollywood legend.
Here we see him on Set in Colmenar Viejo (Spain) for 'The Sheriff of Fractured Jaw', may 1958. 
A true pioneering film for the whole region around Colmenar Viejo.
We will very soon take a closer look, but first you look here: Colmenar Viejo.
A glorious location with a long history!

Here is a first little 'Cannon for Cordoba' appetizer before I have the main material ready (several bulging folders).
Once planned as a special website for the movie (www.captain-douglas.com) I will now cut the cake into smaller pieces.
The crumb of week is the Studio scene with the casual 'We are all equals' call of Captain Douglas (George Peppard).
An excellent Set design by José María Tapiador ('Villa Rides') appropriately decorated by Rafael Salazar ('The Hunting Party') 
and José María Alarcón ('El Condor') - Estudios de Chamartin or Sevilla Films Studio (?).
The same creative team that designed 'Guns of the Magnificent Seven' for Director Paul Wendkos.
Paul Wendkos (with jacket) explains to the boys what he wants to see.
Kodak 2.25 transparencies.
Quite cool George Peppard shot that makes a view under the studio roof possible.
A decent studio set with a clever lighting concept. 
Kodak 2.25 transparency.
Captain Douglas is an uncomplicated, smart but tough guy who lives by his own rules, a man for special tasks.
Peppard is perfect on such types and he plays it great!
He is superb as a shattered private eye in the largely unknown flick 'P.J.'.
Studio Set - Kodak 2.25 transparency.
Captain Douglas to his Bruisers: 'There's no rank, we are all equals, except for me being a little more equal!'.
A credible 'Finca' Set even though some of the big wooden beams are just as phony as the red brick walls.
The 'brick walls' were made out of pre-built panels with modeled stone pattern (roughcast).
On the desk is a 'show' model (design dept.) of the 'Fortress of Cordoba', built to show Director Wendkos how the 
full-size Fortress will look like.
Wendkos decided to use the miniature in this scene, where the boys are planning the dance with Cordoba.
A mission into the jaws of death.
Kodak 2.25 transparency.
Nico Minardos (Peter), Pete Duel (Andy) and Don Gordon (Jackson) during a break. 
Pete has grabbed the hat of the pretty 'Teniente' Antonio (Gabriele Tinti), the Mexican officer, 
and enjoys a bottle of Spanish beer (cerveza).
Kodak 2.25 transparency.
Don Gordon - Studio Set.
The gang of misfits hear suspicious sounds through the open windows.
Don and Pete jump out of the left and right window to catch the unknown 'spy' - The Mexican Teniente.
Kodak 2.25 transparency.
Excellent Don Gordon (1926–2017) portrait - Kodak 2.25 transparency. 
Screenshots - Jackson (Don Gordon) jumps out of the window.
Behind-the-Scenes.
Don jumps out of the window/Studio set and lands on a thick old mattress with a roll forward.
This ragged mattress has obviously already experienced many shooting days and hundreds of stunts.
The photographer was in the right place at the right time. Perfect!
Kodak 2.25 transparency.
During a break in filming 'Cannon for Cordoba'.
Peppard, a notorious player, is gambling cards with Don Gordon. 
One of the kids next to John Larch is presumably Jordan Wendkos, the son of Director Paul Wendkos.
 The lady next to Paul Wendkos might be his wife?
I will soon start the comprehensive 'Cannon for Cordoba' 'Making Of' report, shooting location by shooting location, 
starting with the first outdoor location as seen in the movie: Navalcarnero (Madrid).
That will be fun ...and a lot of work!
Or as Custer would say: To Hell or Glory!

Exciting news from Madrid. Javier Ramos contacted me and gave me some more details about his book project.
The title will be "El Cine del Oeste en la Comunidad de Madrid".
The book will be divided into three main parts: 
- the history of Western movies filmed in the Comunidad de Madrid
- the filming locations in Madrid
- the artists and experts who worked on those movies and were born in Madrid
There are already numerous publications about Almeria and its well-known film history.
Finally, a book about Madrid, a Western Movie hot-spot where there is still much to discover and only 
very little has been published so far. Great!
Despite the surprising death of co-author Ángel Caldito, Javier is working hard to release the book by the middle of this year.
He just sent me a comparison photo of the location of the 'Guns of the Magnificent Seven' Fort 'Cave of the Rats'.
Comparison photo of the 'Fort' location, 2017, by Javier Ramos.
The Fort was built exclusively for the movie a bit outside of Villamanta (Madrid) in the 'Barranco de Rodeavacas'.
I went through there and did not notice the location, damn it!
But that was years ago, today many new fans are on the go to discover locations.
Both Paul Wendkos (Director) Western, 'Guns of the Magnificent Seven' and the much better 'Cannon for Cordoba', have a pretty
cool Set design and decoration.
The small town of Villamanta (Madrid) was the main location for 'Guns of the Magnificent Seven'.
Here is a tiny little filming location, a small rainwater ditch with solid walls (bricks) running under the old railroad tracks.
The big Chris (George Kennedy) squeezes through here ...
Comparison 1969/2007 - The ditch is full of sand, the rails long gone.
Chris, you need a shovel.
The beautiful Wende Wagner will show you a little location that I discovered far away from Villamanta: Fresno de Torote.

The filming of 'The Valley of Gwangi' in the desert of Tabernas (Almeria), Rambla Viciana, Summer 1967.
Behind the Clapperboard you can see a wooden stick.
This is the so called 'Monster Stick', which stands in for 'Gwangi' and gives the actors something to interact with.
The stick will be removed and replaced later by the Ray Harryhausen dinosaur show (composite).
Right, at the very edge of the picture, next to the stick you can see an unusual rock.
This rock is interesting...
James Franciscus ('Beneath the Planet of the Apes') seeks shelter from the snappy dinosaur behind the 'giant finger rock'.
Comparison photo of the filming location, Rambla Viciana, 2005.
Not so easy to spot as the erosion has changed the place greatly.
The distinctive 'finger rock' is of course no longer there.
This rock was especially built for the movie. 
A simple construction of plaster and hay, with an inner frame of bamboo or wood (stability).
In the Rambla Viciana there was almost nonstop shooting, due to the easy accessibility, but I have not seen the rock 
in any other movie.
They apparently dismantled him after the filming.
But the film history of Almeria holds even more surprises...
For the bizarre Spaghetti Western 'Réquiem para el Gringo' they constructed a plain clay figure of Lang Jeffries with poncho,
sitting on his horse!
This surreal 'Psycho Horse' drove Aldo Sambrell crazy - Rambla Lanujar (Almeria).
A bing false rock was built for the excellent Michael Winner Western 'Chato's Land' in the Rambla Indalecio (Almeria).
Here you can take a look: 'Deathfinger Rock'.
Contact Sheet photo (3rd generation), showing Gila Golan in conversation with her stunt double (sitting).
The Crew is preparing the scene with James Franciscus behind the phony rock - Rambla Viciana, 1967.
The hair of the stunt double is getting finishing touches - Rambla Viciana.
Does anyone know the name of the stunt double of Gila Golan?
Another blurry Contact Sheet photo of inferior quality - Rambla Viciana, 1967.
Anyway, these pictures are rare documents of the 'Gwangi' film history.
Live Action and a real location composited with a bit of Harryhausen Gwangi 'hocus pocus'.
Comparison photo of the shooting location - Rambla Viciana, 2005.
The Harryhausen Gwangi Show - Not really 'fresh' anymore, but still very nice and fun to look at.
Dignified aged.
Cool comparison photo of the shooting location (background) - Rambla Viciana, 2007.

The Adventures of Baron Munchausen - Part2
The extravagantly staged battle scenes on the beach of Monsul (Almeria, Spain) with hundreds of Extras, horses, 
elephants and other animals, giant cannons and huge mobile siege towers - Ingeniously organized chaos!
The Extras were mostly locals from the surrounding small villages.
See how the Unknown Extras of Monsul experience the visual imagination of Terry Gilliam live.
I got in some great 35mm Kodachromes showing the little stories behind the Spectacle!
Some of these photos are from the well-known Italian still photographer Francesco Bellomo 
('Suspiria', 'Luca il contrabbandiere', 'Tenebre').
The great John Neville (Baron Munchausen) on the 'Playa de Monsul' (Almeria) with an Extra.
The British gentleman John Neville (1925–2011) was always friendly and in a good mood. 
Where others despaired, he enjoyed the visual show, the experience.
When he was in his early sixties, Terry Gilliam cast him as Baron Munchausen. 
Although the film was a financial failure, his starring role in this major production, as well as his fine performance, 
led to an explosion in his career.
What's the story behind these photos?
Elephants on the 'Playa de Monsul' (Almeria). 
These must be trained circus elephants, the noise of filming would scare every elephant out of the zoo to death.
Terry brought some huge cannons from Italy ...ready to fire!
The elephants were not easy-to-handle actors, sometimes they disagreed with the director and 
interpreted scenes in their own way...
An Extra on the Monsul Beach surrounded by horses. 
You can easily imagine the enormous effort involved in the battle scenes.
Numerous films were shot on this beach.
The mountains in the background remind me strongly of the Edward Dmytryk Western 'Shalako', 
for which a set was built nearby 20 years earlier.
An Extra with the powerful Cannons.
These fine works of art were made in Rome.
12 spectacular monsters, all ready to fire, recreated of fiberglass with metal tubes (see photo) inside to hold the explosives 
were shipped to Almeria.
When the pretty massive, hugely ornate props arrived on the 'Playa de Monsul' it turned out that the 
Cannons were too heavy and could hardly be moved in the sand.
Insanely expensive toys were stuck in the sand! - Welcome to the wonderful world of Terry Gilliam!
What happened to the cannons after the shooting?
Terry Gilliam on the 'Cannons':
"At every turn, things were costing 10 times what they should cost.
I mean, we shipped the Cannons to Spain on an Italian company and it cost four times what 
it cost to ship them back with a Spanish company."
Gold rush mood! - Many filled their pockets!
Another Extra on the Set - Playa de Monsul.
Behind of him you can see Giuseppe Rotunno (DOP) and his camera crew preparing the next shot.
All materials, all set decoration pieces, everything was shipped to Spain.
The bizarre filming of 'Baron Munchausen' led to a surreal cinema experience, glorious!
Part 1 is about the scenes in the eighteenth-century war-ravaged theatre, a picturesque Cinecitta sound stage.
You should take a look at this: Dante Ferretti Stage Design.

American Film Director Phil Karlson (1908–1985) is best know for his Matt Helm flicks ('The Silencers', 'The Wrecking Crew') 
and his biggest commercial success, 'Walking Tall' (1973), with big Joe Don Baker in a great role.
He directed different and often underrated Genre movies such like the War movies 'Hell to Eternity' (1960) and 'Hornets' Nest' (1970) 
and Western films like the rough 'A Time for Killing' (1967) and years earlier, 'They Rode West' (1954).
'They Rode West' can score with an interesting story and beautiful pictures.
Responsible for the look of the film was Art Director Cary Odell (1910–1988) who did the production design and art direction
for Western films like 'The Man from Laramie', 'They Came to Cordura' and 'Mackenna's Gold'.
The story is well told, with a young hero in the lead role.
The rising star Robert Francis plays a young cavalry doctor who overrides direct orders to help sick Indians.
The Kiowa break away from the reservation to move to a healthier higher ground, 
and when they join with the Comanches to besiege the Fort, Francis is branded as a 'woodhawk', the bird that turns against its own.
Robert Francis' career was on the rise when he was killed at the very young age of 25 in a private plane crash near Burbank, 
Lockheed Air Terminal.
It is unknown why the pilot of the Beechcraft 35 Bonanza was sitting on the backseat while Robert Francis, 
who had no formal flight training or experience, was at the controls and the co-pilot's seat was empty.
Robert Francis (left on a 'They Rode West' promotion photo) died July 31, 1955.
Maybe he would have been a candidate for the forthcoming 'Spaghetti Western' of the 60s.
'They Rode West' is a very solid western with a good heart.
6/10

The very talented and busy Cuban camera operator Enrique Bravo (1929–1992) on Set in 'Texas Hollywood - Fort Bravo' 
(Almeria, Spain) during a break in filming 'Doc'.
'Texas Hollywood' is a stylish Western Town Set built in the 60s near Tabernas (Almeria) as a filming location for 
'Spaghetti Western'. 
It still has a certain charm, but the old fame fades.
The Frank Perry movie is a melodramatic brave Western shot on location in Spain with a groovy crew of Players and Makers.
'Doc was one big happy Western production' said Special Effects Supervisor Kit West once to me.
It was laughed a lot, the Spanish sun was warm and the beer cold.
Looking at the photo of Enrique Bravo I believe that immediately!
You can find many more anecdotes and information about 'Doc' here:
www.kit-west-almeria.com
The 'Doc' blu-ray is pretty well done with interesting extras.
I am glad that I was able to help a little with material and information to produce the extras.
'Doc' - Making of.
Enrique Bravo filming a scene for the 'Tombstone' sequence - 'Texas Hollywood', Almeria.
Camera Operator Enrique Bravo often worked with the famous Cinematographer Gerald Hirschfeld (1921–2017).
A pretty fruitful collaboration with many great tasks.
The two lensed the Ossie Davis Blaxploitation hit 'Cotton Comes to Harlem' (1970) and the Frank Perry film 
'Diary of a Mad Housewife' (1970) before they flew to Spain to work on 'Doc'.
DOP Gerald Hirschfeld was very impressed by Enrique Bravo and his mastery of various camera systems.
Enrique was an artist with the camera, especially with the Arriflex.
Hirschfeld/Bravo filmed 'Child's Play' for Director Sidney Lumet, 'The Gravy Train' for Director Jack Starrett and 
'My favorite Year' for Director Richard Benjamin.
A very good and successful collaboration also developed between camera operator Enrique Bravo and 
DOP Owen Roizman ('Wyatt Earp').
Director of Photography Owen Roizman filmed excellent movies like 'The French Connection' (1971) and 'Three Days of the Condor' (1975)
with Camera Operator Enrique Bravo.
Great parts of William Friedkin's harsh and hard-hitting police action thriller classic 'French Connection' was filmed with the 
Arriflex and lots of hand-held work by Enrique Bravo.
He was very helpful for Roizman on his way to receive a well-deserved Academy Award nomination for his outstanding 
visual contributions to this picture.
The authentic atmosphere, mood and gritty visual style of 'French Connection' are breathtaking.
Popeye Doyle’s (Gene Hackman) pursuit by car of a fleeing killer on an elevated train is a masterpiece of staging.
The entire chase sequence was shot with an Arriflex camera.
The Arriflex was also used as the primary camera for shooting the groundbreaking Peter Yates hit 'Bullitt' a few years earlier.
Both movies are perfect examples of excellent Arriflex use for intensifying visual material. 
The movies got their exceptional kind of street-level immediacy through the Arriflex - A special visual aesthetic.
Camera Operator Enrique Bravo behind the Arriflex filming a scene for 'The French Connection'.
On the left beside him, with glasses, Director William Friedkin. 
Gene Hackman (Popeye) is talking with the Spanish Actor Fernando Rey (Frog One).
Not only that they had cameras operating outside of the car of Popeye Doyle, two Arriflex cameras were mounted inside of it!
Another William Friedkin movie with Enrique behind the camera is the cool crime story 'The Brink's Job'.
Camera Operator Enrique Bravo has quite a few great movies under his belt, including the very successful Michael Cimino 
masterpiece 'The Deer Hunter'.
A great production with a striking cinematography.
Clint Eastwood with an Arriflex on Set for 'Two Mules for Sister Sara' - Cuautla, Mexico.
Sergio Leone made extensively use of Arriflex cameras shooting in the Techniscope (half-frame) format.
Clint Eastwood starred in three of the Leone Western and fastly realized the great potential of the Arriflex 
for his idea of filming.
He saw early on the advantages of the hand-held Arriflex camera to get powerful visual material.
There is a well-written book available 'Chronicle of a Camera - The Arriflex 35 in North America, 1945-1972', 
which I highly recommend.
Only a little over 150 pages, but packed with information and exciting stories.
Golden Age of Porn King Gerard Damiano and his cameraman João Fernandes used the Arriflex to shoot blue movie classics like 
'Deep Throat' and 'The Devil in Miss Jones'.
Don Siegel used it for 'Dirty Harry'.
All the location shooting on the Philippines for the Robert Aldrich War movie 'Too Late the Hero' was shot exclusively with 
Arriflex 35's.
The factory-trained Arriflex technician Axel Broda was on Set to keep the cameras in working condition in the heat and humidity 
of the jungle locations.
Get your copy of this little bible now, for some more thrilling stories about the Arriflex in Action!

www.moon-city-garbage.agency