marconi s music and the use of close-ups combined to really punctuate emotion and thinking. and the close-ups get closer and closer and closer to the acts faces till you just see their eyes and it starts to move more frenetically as where s the gold, who is going to shoot first? okay. open up in there. butch, you know that if it were my money, there is nobody that i would rather have steal it than you. butch cassidy and the sundance kid is a counter culture western. there s never a moment when you re not rooting for the bad guys in this movie. it hit a nerve i think, unexpectedly. it hit some kind of nerve that had to do with outlaws and the outlaw sensibility. think there s enough dynamite there, butch. it s hard to find a film as fun and funny and wry and
the ugly on the day they can hear the score that we as an audience are hearing. now, if you did that just silent, i think actors would start to kind of wonder what s happening. when you play the moricone music, now you re in an opera, and it changes their performances. morricone s music and the use of close-ups combined to really punctuate emotion and thinking. and the close-ups get closer and closer and closer to the actors faces till you just see their eyes, and it starts to move more fren etically as, where s the gold? who s going to shoot first? okay. open up in there. butch, you know that if it were my money, there is nobody that i would rather have steal it than you. butch cassidy and the sundance kid is a counter culture western. there s never a moment when you re not rooting for the bad