Thursday, June 25, 2026

Little Known Spaghetti Western Actors ~ Ernie Dominy

[These daily posts will cover little known actors or people that have appeared in more recent films and TV series. Various degrees of information that I was able to find will be given and anything that you can add would be appreciated.]

Ernie Dominy is/was a character actor. There is also is/was an American actor named Ernest Dominy active in three American films between 1954 and 1956. Ernie Dominy appeared in two films between 1972 and 1973. The 1973 film was called “Bummer” in which he not only acted in but was also an assistant director. The film was U.S.A. co-produced and directed by William Allen Castleman who also produced Ernie Dominy only Euro-western, “Les chevauchées amoureuses de zorro” (The Erotic Adventures of Zorro) as Rodriguez in 1972.

Could Ernest and Ernie be the same person? Since I can find no biographical information on either one the question remains unanswered.

Ernie Dominy appeared in on Euro-western, "Les chevauchées amoureuses de zorro" (The Erotic Adventures of Zorro) as Rodriguez in 1972.

DOMINY, Ernie – assistant director, film actor.

The Erotic Adventures of Zorro – 1972 (Rodriguez)

Spaghetti Western Directors, Screenwriters, Cinematographers

Spaghetti Western Director ~ Ralph Gideon

Sheldon Reynolds was born on December 10, 1923, and was an American television producer best known for his involvement in the Sherlock Holmes franchise. In 1954, he produced one of the first television shows to feature the Holmes and Watson characters, which (except in two instances) did not directly adapt Conan-Doyle's original Holmes stories for Sherlock Holmes. It starred Ronald Howard as Holmes, and Howard Marion-Crawford as Watson.

In the 1970s, Reynolds attempted to acquire a license to produce direct adaptations of the stories. At that time, the rights were in the hands of the Royal Bank of Scotland, which acquired them after the previous owner defaulted on a loan. Reynolds successfully formed a consortium which acquired the rights at auction. Much of the money for the consortium came from the family of Reynold's then-wife, Andrea Reynolds-Plunket. After their divorce in 1990, she pursued the ownership of the American copyright in a number of court cases, but her claims were rejected. Reynolds would go on to direct and produce several TV series and a handful of films.

In the 1957-1958 season, Reynolds became executive producer of an American sitcom filmed in England, ‘Dick and the Duchess’, starring Patrick O'Neal and Hazel Court. He also, as Ralph Gideon, directed his only Euro-western “A Place Called Glory” starring Lex Barker, Pierre Brice and Marianna Koch.

Reynolds died of emphysema on January 25, 2003, in New York City. He was 79.

As Ralph Gideon Sheldon Reynolds directed one Spaghetti western, "Die Hölle von Manitoba" (A Place Called Glory) in 1965.

GIDEON, Ralph (aka Sheldon Reynolds) (Sheldon Morton Rosen) [12/10/1923, Philadelphia, Pennsylvania, U.S.A. – 1/25/2003, Livingston Manor, New York, U.S.A. (emphysema)] – producer, director, writer, married to actress Andrea Plunket (Andréa Barbara Milos) [1937-2016] (1972-1990)

A Place Called Glory - 1965


Spaghetti Western Screenwriter ~ E.B. Clucher

Enzo Barboni was born in Rome on July 10, 1922. Although best known as the director of the Trinity films as E.B. Clucher, the surname of his grandmother, Enzo Barboni started out in the film business as a cameraman and cinematographer.

He began to work in film at a very young age, serving as a war correspondent on Eastern Front of World War II, and starting work as a camera operator in 1942. In 1961 he advanced to a career as cinematographer, working several times with director Sergio Corbucci and gaining a well-respected reputation.

He made his directorial debut in 1970 with the serious western “Chuck Moll” (The Unholy Four), which had little success. Undaunted, he decided to make his next film a slapstick parody of the Spaghetti Western phenomenon. The result, “They Call Me Trinity”, was an enormous hit and made superstars out of Bud Spencer and Terence Hill. The three reunited the next year for the even more successful sequel “Trinity Is STILL My Name!”, which became, up to that point, the highest grossing Italian movie ever.

Barboni never strayed from his successful formula; his subsequent films were all slapstick comedies and almost all featured either Hill or Spencer. This collaboration produced numerous hits, but when Hill and Spencer's careers started to wane, so did Barboni's. In 1994 he wanted to direct “Troublemakers”, which was to be the "swan song" of the duo, but Terence Hill insisted on directing instead. The next year Barboni tried to revive the formula with “Sons of Trinity”, which proved to be a disaster at the box-office.

After this disappointment, Barboni retired. He died in Rome, at age 79 on June 23, 2002.

As E.B Clucher, Enzo Barboni directed six Spaghetti westerns: “Ciakmull, l’uomo della vendetta” (The Unholy Four) in 1969, “Lo chiamavano Trinità...” in 1970, “...continuavano a chiamarlo Trinità” (Trinity Is STILL My Name!) in 1971, “E poi lo chiamarono il Magnifico” (Man of the East) in 1972, “Renegade, un osso troppo duro” (They Call Me Renegade) in 1987 and “Trinita & Bambino… e adesso tocca a noi” (Sons of Trinity) in 1994.

Enzo Barboni as E.B. Clucher wrote screenplays for four Spaghetti westerns: “Lo chiamavano Trinità...” in 1970, “Gli fumavano le colt…lo chiamavano Camposanto“ (Bullet for a Stranger and “...continuavano a chiamarlo Trinità” (Trinity Is STILL My Name!) both in 1971 and “E poi lo chiamarono il Magnifico” (Man of the East) in 1972

CLUCHER, E.B. (aka E.B. Clutcher) (Enzo Barboni) [7/10/1922, Rome, Lazio, Italy – 6/23/2002, Rome, Lazio, Italy] – boxer, stuntman, director, writer, cinematographer, cameraman, SFX, brother of cinematographer Leonida Barboni [1909-1970], married to Irma Gazzi Barboni (195?-19??) father of writer, Marco Barboni [1952-    ].

They Call Me Trinity - 1970

Bullet for a Stranger – 1971

Trinity is STILL My Name – 1971

Man of the East – 1972


Spaghetti Western Cinematographer ~ Franz Koch

Franz Koch was a German cinematographer known for his prolific career in German cinema, spanning the silent era through the post-World War II period.

Born Franz Paul Koch on September 1, 1898, in Munich, Germany, he entered the film industry in 1913 and established himself as a director of photography from the 1920s onward, becoming one of the most active cinematographers in German-language productions. His work extended across several decades, capturing silent films in the 1920s, sound productions in the 1930s and 1940s, and numerous post-war films until his death on April 28, 1959, in Munich. Koch's extensive experience kept him in demand throughout his career, contributing to a broad range of genres and helping shape the visual style of many German films during a transformative time in the industry.

Notable works include silent films such as “Der Schuss im Pavillon” (1925), as well as later productions like “Die Geierwally” (1956) and “Ballerina” (1956). He occasionally ventured into acting and even wrote and directed the short film “Lied der Landstrasse” (1950), though his primary legacy remains his cinematography

Franz Koch was a cinematographer on two Euro-westerns: “Sergeant Berry und der Zufall” (Sergeant Berry) in 1938 and “Wasser für Canitoga” (Water for Canitoga) with Josef Illig in 1939.

KOCH, Franz (Franz Paul Koch) [9/1/1898, Munich, Bavaria, Germany – 4/28/1959, Munich, Bavaria, Germany (stomach infection)] – director, writer, cinematographer, cameraman, film actor.

Sergeant Berry - 1938

Water for Canitoga – 1939 (co)

New French Blu-ray release of “Dieu pardonne, moi pas”

 








“Dieu pardonne, moi pas”

(God Forgives… I Don’t)

(1967)

 

Director: Giuseppe Colizzi

Starring: Terence Hill, Bud Spencer, Frank Wolff, Gina Rovere, José Manuel Martín

 

Country: France

Label: BQHL Éditions

Blu-ray

Aspect ratio: 16:9 - 2.35:1

Resolution: 1080p

Languages: Italian mono, French stereo

Subtitles: French

Running time: 113 minutes

Extras: Interview with Jean-François Giré (40min)

ASIN: ‎B0H2K2SWJ6

Available: June 25, 2026

Screenwriting Film Quote of the Day: 'The Good, the Bad and the Ugly' Line That Explains Why Actions Matter More Than Words

 This classic line from Eli Wallach's character contains a lot of depth.

 No film school

Jason Hellerman

June 08, 2026

 

Every film fan remembers the first time they watched the bath scene in Sergio Leone’s 1966 epic, The Good, the Bad, and the Ugly. It's a three-hour movie, but you spend the whole time on the edge of your seat during some of the most jaw-dropping scenes.

One of my favorites is not one of those giant sweeping vistas, or a gun fight, or a train escape. It's a bubble bath.

It's when Tuco, played by Eli Wallach, is soaking in a tub when a one-armed bounty hunter bursts in to settle a score. Instead of pulling the trigger, the bounty hunter stands there and delivers a monologue about revenge.

Every film fan remembers the first time they watched the bath scene in Sergio Leone’s 1966 epic, The Good, the Bad, and the Ugly. It's a three-hour movie, but you spend the whole time on the edge of your seat during some of the most jaw-dropping scenes.

One of my favorites is not one of those giant sweeping vistas, or a gun fight, or a train escape. It's a bubble bath.

It's when Tuco, played by Eli Wallach, is soaking in a tub when a one-armed bounty hunter bursts in to settle a score. Instead of pulling the trigger, the bounty hunter stands there and delivers a monologue about revenge.

That's when Tuco shoots him through the bathwater with a hidden pistol, stands up, shakes off the suds, and delivers: "If you're gonna shoot, shoot. Don't talk."

It is a legendary movie moment, but for creatives staring down a blank page or sitting in an editing bay, it is also a fundamental law of visual storytelling.

So, let's dive in.

Every film fan remembers the first time they watched the bath scene in Sergio Leone’s 1966 epic, The Good, the Bad, and the Ugly. It's a three-hour movie, but you spend the whole time on the edge of your seat during some of the most jaw-dropping scenes.

One of my favorites is not one of those giant sweeping vistas, or a gun fight, or a train escape. It's a bubble bath.

It's when Tuco, played by Eli Wallach, is soaking in a tub when a one-armed bounty hunter bursts in to settle a score. Instead of pulling the trigger, the bounty hunter stands there and delivers a monologue about revenge.

The Death of the Exposition Dump

We've all seen the movie where the villain monologues while the hero is in a vulnerable position, and this is a play on that.

Well, in 1968, Sergio Leone was tired of them. So he, along with screenwriters Luciano Vincenzoni and Age & Scarpelli, decided to dismantle those scenes with this one.

They understood that cinema is a visual medium where action should outpace explanation and get the story going, without stopping to hear someone yammer.

Even back then, they knew that when a character explains their evil plan, their backstory, or their emotional state for three paragraphs, the narrative momentum flatlines and the audience tunes out.

To me, this scene is the perfect screenwriting lesson...

If a line of dialogue can be replaced by a look, a gesture, or a physical choice, cut the line. Let your characters act on their impulses rather than narrating them.

Show vs. Tell in the Modern Indie Landscape

You've read it here many times before, but film is a visual medium, and that means it's better to show than to tell.

Tuco is doing all the showing things in this scene; we know immediately so much more about him. This is a guy who is always prepared and knows when to play his angles. He's also a guy who knows the lesson he espouses.

As filmmakers, we can learn so much from this advice.

You always want to streamline things to keep the pace going and to keep the audience involved. By focusing on visuals, you can use the camera to give the audience information.

When breaking down your script's three-act structure, look closely at your turning points and at any lengthy monologues. Are your characters talking their way into the next sequence, or are their concrete choices forcing the narrative forward?

And are we getting into those sequences in a timely manner or using visuals to keep the audience's attention?

Kill Your Darlings, Trim the Fat

If Tuco had a gun, you know he'd use it to kill your darlings. And you need to work on that, too.

The next time you read through a draft, look for your characters' "bath scene" moments. If a scene feels sluggish or too talky, get to the point. If you are going to shoot, shoot. Don't talk


Wednesday, June 24, 2026

Little Known Spaghetti Western Actors ~ Riccardo Dominici

[These daily posts will cover little known actors or people that have appeared in more recent films and TV series. Various degrees of information that I was able to find will be given and anything that you can add would be appreciated.]


 Riccardo Domenici worked mainly behind the cameras during on over 75 films during his twenty-five year plus career mainly as a set decorator, production and costume designer but when called upon he would appear in films in supporting or character roles. He was credited under multiple spellings of his name and Anglicized names such as Henry Daring, Gus Marrow and Dick and Rick Sunday.

Riccardo Dominici appeared in only one Spaghetti western, “E poi lo chiamarono il Magnifico” (Man of the East) in 1972

DOMINICI, Riccardo (aka Henry Daring, Dick Domenici, Dik Domenici, P. Domenici, Riccardo Domienici, Alberto Dominici, Dick Dominici, Mario Dominici, Ricardo Dominici, Riccardo Dominic, Ricardo Doomenici, Gus Marrow, Dick Sunday, Rick Sunday) (Riccardo Domenici) [Italian] – film actor.

Man of the East – 1972 [as Mario Dominici]

Spaghetti Western Directors, Screenwriters, Cinematographers

Spaghetti Western Director ~ Gaby Getz

Gabrielle van der Riet is known both as a historical amateur stage actress and director from South Africa, who later adopted the stage name Gaby Getz,and as the subject of a past missing persons appeal in 2018.The historical and personal records available include two primary facets: Theatrical Career: In the 1960s, van der Riet performed and directed in South Africa, notably appearing in the 1966 PEMADS production of “Macbeth” in Port Elizabeth. She later rebranded as professional actress Gaby Getz, starring in a variety of stage comedies and musicals across Durban and Johannesburg. Genealogical Records: Family history indices also reference Gabrielle Elaine van der Riet, who lived from October 1940 to March 2009.

As Gaby Getz she directed one Spaghetti western, “3 Bullets... for a Long Gun” in 1970.

GETZ, Gaby (aka Gabby Getz) (Gabrielle van der Riet) [10/?/1940, Port Elizabeth, South Africa – 3/?/2009, Johannesburg, South Africa] – producer, director, theater, film, actress, singer.

3 Bullets... for a Long Gun – 1970


Spaghetti Western Screenwriter ~ Gianfranco Clerici

Gianfranco Clerici' is an Italian screenwriter and assistant director known for his extensive work on exploitation, horror, and giallo films in Italian cinema, particularly during the 1970s and 1980s. Born on July 29, 1941, in Bergamo, Italy, he began his career in the 1960s working as an assistant director on various genre pictures, including adventure, western, and crime films, before establishing himself as a prolific screenwriter.

Clerici collaborated with prominent directors of Italian cult cinema, such as Lucio Fulci and Ruggero Deodato, contributing screenplays to notable and often controversial works including ''Don't Torture a Duckling'' (1972), ''Cannibal Holocaust'' (1980), ''The New York Ripper'' (1982), and ''Devil Fish'' (1984). His scripts frequently explored graphic violence, sensational themes, and exploitation elements that defined the era's extreme Italian genre filmmaking.

Later in his career, Clerici shifted toward television, writing for numerous Italian series and long-running productions into the 2000s, while maintaining a steady output across film and media. His contributions remain influential within the realm of cult and horror cinema enthusiasts.

Gianfranco Clerici was a screenwriter on two Spaghetti westerns: “Zorro il ribelle” (Zorro the Rebel) in 1966 and “Tex e il signore degli abissi” (Tex and the Lord of the Deep) with Marcello Coscia, Duccio Tessari and Giorgio Bonelli in 1985.

CLERICI, Gianfranco (aka Frank Clark, Franco Clerici, Mark Davis, Marco Devis, Mark Devis) [7/29/1941, Bergamo, Lombardy, Italy -    ] – producer, assistant director, writer, songwriter, actor.

Zorro the Rebel - 1966

Tex and the Lord of the Deep – 1985 (co)


Spaghetti Western Cinematographer ~ Josef Klyk

Jozef Klyk was born in Bojszowy, Slaskie, Poland on April 13, 1950. He is obsessed with the American West; so much so that he directs, writes, shoots and stars in films, which he shoots with his hand-cranked camera. Jozef Klyk lives in a small village in the south of Poland and has never even visited the U.S. Wanted is a docu­mentary about a remarkable man who dreams of a place that exists in his imagination only. An Eastern Western, one might say.

Jozef Klyk was born in Bojszowy, Slaskie, Poland on April 13, 1950. He is obsessed with the American West; so much so that he directs, writes, shoots and stars in films, which he writes, directs, films and appears in films he shoots with his hand-cranked camera. Jozef Klyk lives in a small village in the south of Poland and has never even visited the U.S.

Josef Klyk was a cinematographer on six Euro-westerns: “The Stagecoach Robbery” in 1968,

“The Stagecoach to Kansas” in 1969, “Full Death” in 1984-1986, “The Man from Nowhere - The Trail of Lawlessness” in 1980-1983, “Free Man” in 1988-1991 and “Two from Texas” in 1999.

KLYK, Józef [4/13/1950, Bojszowy, Slaskie, Poland -     ] – producer, director, writer, cinematographer, actor.

The Stagecoach Robbery – 1968

The Stagecoach to Kansas - 1969

Full Death - 1984-1986 (Zlotko/Gold)

The Man from Nowhere - The Trail of Lawlessness -1980-1983

Wanted - 1990

Free Man – 1988-1991

Two from Texas – 1999

Slaski Teksas 2000 

Leo Anchoriz, the premier actor from Almería—with nearly 40 films to his name—has no star on the Walk of Fame.

La Voz de Almeria

By Jose Angel Perez

June 9, 2026

Leo Anchoriz—the stage name of film and theater actor Mariano Leopardo de Anchoriz Fustel—was born in Almería on September 22, 1929, in the city's Plaza del Marqués de Heredia (popularly known as the Plaza de los Burros). He passed away in Madrid on February 17, 1987—where he had resided for many years—at the relatively young age of 58 due to a heart condition, leaving behind his widow, María Callejón; the couple had no children.

This multifaceted native of Almería was a film actor, painter, writer, musician, muralist, and theatrical set designer; within the film industry, he distinguished himself as a screenwriter and art director. Endowed with an extraordinary physique—possessing a strong, athletic build—he was an excellent swimmer. On television, he worked as a presenter for TVE in 1975, hosting the game show ‘A Simple Vista*, and appeared in various series such as ‘Confidencias’, ‘Tiempo y hora’, ‘Novelas’, ‘Cuentos y Leyendas’, ‘Ficciones’, ‘Teatro de Siempre’, and ‘Hora Once’. In artistic and cultural circles, he was known as a highly cultured individual—versatile across all manner of cultural activities—and a man deeply devoted to his homeland; it was there, at the Ciudad Jardín church in 1965, that he married María Callejón, a young woman from Dalías.

According to Antonio Sevillano, his parents—Román de Anchoriz Andrés, of the Aragonese origin, and Josefina Fustel—arrived in Almería around the second decade of the 20th century. His father, a mariner by profession, worked as a harbor pilot. They arrived with two other children, Carola and Román.

As a child, Leopardo Anchoriz was a restless, hyperactive, and highly intelligent boy. In 1936, he began his education at a popular school on Calle de la Reina, where he prepared for admission to the secondary school—now the School of Arts and Crafts—to complete his high school studies. He was a student of the extraordinary poet and teacher Celia Viñas, sharing classes with other notable figures from Almería such as Gabriel Espinar, Mary Molto, López Cuadra, and the painter Dionisio Godoy. An exceptional draftsman who seemed destined to become a painter, he handled the set design for the “pasos” (religious floats), plays, and other productions Celia organized for her students. Interestingly, he illustrated some of his teacher's publications, including Trigo del corazón and Canción tonta del Sur.

After finishing high school, he moved to Madrid to study Fine Arts at the San Fernando Academy. He entered the film industry under the guidance of director Pedro Lazaga, thanks to his friendship with actress ConchPerezita Montes. He was close friends with José María Forqué, Jaime de Armiñán, and the Italian filmmaker Enzo G. Castellari; he worked on several films with Castellari and, years later, even moved to Rome to live with him and his family. It is worth noting that Leo Anchoriz never abandoned painting—a field in which he had shown great promise—creating various stage sets for Madrid theaters and, notably, a collection of posters for the Almería Fair; he won first prize in the 1948 municipal competition for these designs—collaborating with Miguel Salmerón Pellón (winning again in 1949, 1951, and 1972)—and became the most acclaimed poster artist after Pérez Siquier, Salmerón, and Robles Cabrera. Leo Anchoriz also created the mural announcing Madrid's San Isidro Festival in 1973.

Wedding in Ciudad Jardín

At the age of 36, with his film career firmly established, he married María Callejón on the afternoon of Sunday, January 12, 1965, at the Church of San Antonio in Ciudad Jardín. Among the well-known figures from the entertainment world who attended the ceremony were bullfighter Antonio Bienvenida, José María Forqué, and Jaime Luis de Armiñán.

Whether in a leading or supporting role, Leo Anchoriz appeared in 37 films across various genres—predominantly Spaghetti Westerns—often playing "tough guys" or action roles. He made his debut in 1957 in “Las muchachas de azul”, directed by José M. Forqué and starring Analía Gadé, Fernando Fernán Gómez, and Tony Leblanc; this was followed by Pedro Luis Ramírez’s “El tigre de Chamberí”, alongside José Luis Ozores and Tony Leblanc. In 1959, he appeared in “Duelo en La Cañada”—his first film shot in Almería—and three years later starred in “Milagro a los cobardes”, winning the Best New Actor award at the San Sebastián International Film Festival. That same year, he appeared in “El gladiador invencible”, “Marcha o muere”, and “El halcón de la luna”, alongside Carmen Sevilla, Lola Flores, and Paquita Rico.

He shot nine films in Almería, several of them alongside Eduard Fajardo, who had adopted the region as his home. In a subsequent phase of his career, he worked as a co-screenwriter and writer on “Vivir al sol’; “Carola de día, Carola de noche” (starring Marisol); “La Lola dicen que no vive sola” (directed by Jaime de Armiñán); “Los fríos del miedo”; “A veces ocurren cosas”; a TVE episode; and Pilar Miró’s “La petición”. As an art director, he worked on “La cera virgen” (directed by Forqué and starring Carmen Sevilla and José Luis López Vázquez) and the 1974 film “No es nada, mamá, sólo un juego” (alongside Paco Rabal), and he collaborated with his friend Pilar Miró on the filming of “Gary Cooper, que estás en los cielos”.