Enzo Barboni's thinking before THEY CALL ME TRINITY.

Enzo Barboni: As a Director of Photography, I'd done many Westerns, and one thing about them that made me laugh was their use of violence as an end in itself, which really irked me as a viewer. I believed that Westerns ought to be amusing, there's something inherently comic about the fact in part because they started off from the imitation of a world we'd dreamed about but wasn't our own, one we'd never even seen. Through filming this way, boredom set in. They'd slightly change the costumes, the setting, the faces from film to film, but the music was always the same, the essence of the films never changed. Then one fine day, after having thought a lot about it, I told some friends, "I'd like to demystify the genre." I saw that the idea went over well, and I began to write this story in one of my son's school notebooks, fitting it in among his quizzes and exams. We exploited all the elements typical of the American Western: the old geeze, the killer... no women, they don't enter in; Americans stick them in for commercial reasons, but they don't really fit in these stories. My experience as a Director of Photography on comedies helped me a bit as well. Even some films done with Toto: some of the timing, the bits of business. For example, I transposed a scene from LO SMEMORATO DI COLLEGNO (directed by Sergio Corbucci) with somebody talking and talking, and every time he interrupted him, Toto says, "Oh, really?" It became a tirade delivered by a killer with the responses provided by Trinity. In the case of Trinity, one can't talk of a Spaghetti Western because it was really an Italian style joke that we wanted to make.