The French Blu-Ray has the farts and fuck
So was it confirmed that the French BD has better print quality than the German BD? There were some posts on the general Blu-ray thread suggesting this.
If the the French BD also has the correct English audio then it seems like the better option, although those forced subs are really annoying.
Yeah, forced subs are a no-go for me if I’m not reading them. Major distraction from the picture if unneeded. Although you could copy of the disc and burn a copy without subs
Does anyone know what publication this photo is from:
The website where I found it does not list a source:
At least just another image which shows Leone doing something which bears a suspicious resemblance to directing …
Agreed 
However, I would love to know where this image has been published? Anyone have any ideas… ?
It was already uploaded by Reza on this board:
Maybe he knows?
Bump
Any ideas?
A member over at http://forum.westernmovies.fr/ kindly informed me it can be found at the 2:54 mark here:
Finally watched the Nobody is Perfect documentary on the German blu-ray, and it’s pretty good. I wasn’t expecting the interview with Terence Hill either, especially him doing it in English.
The French Blu-ray has a documentary “Nobody… is Perfect” which is not the same documentary (those three dots make all the difference!). I actually prefer the French one since it has interviews with so many of the crew and actors.
I don’t like that German docu very much. It is much too much preoccupied with letting the film be shown in a pretty bad light. It gives one the impression that MNiN is a weak effort.
Of course I don’t like it the other way round either, when films, even mediocre films, are only praised as if they are the greatest masterpiece in the milky way, which is like it is often in the bonus sections of the discs, but MNiN could need some well founded praise, and not this kind of bashing. I assume Alex Cox’s audio commentary dies the same counterproductive thing for Il mercenario.
Btw the above photo shows again Leone as director, not as mere producer…
The only aspect I remember him praising was the shots of the blue skies.
Ha, ha, more than expected …
I actually thought he’d fallen asleep at some points 
Safe to say he enjoyed doing the Da uomo a uomo commentary a lot more.
Yeh that’s one of a few behind the scenes shots I used to build my case regarding how Leone’s role overlapped with that of Valerii at times.
What was your conclusion about the director of MNIN?
(Unfortunately I haven’t read your article … sob …)
Unfortunately I’m not allowed to share the whole article here. This was the concluding paragraph
In L’Abruzzo e il cinema, Leone notes with frustration that “I just wanted to be his consultant on the basis of the experience I had accumulated in cinema over many years” but that “only in editing did Tonino become more accepting”. Leone further refers to himself as “a producer of the old Hollywood style”; the implied creative responsibility is still reflected in the bestowal of the Academy Award for Best Picture to the producer rather than the director. This contrasts with the European practice, best epitomised by the Palme d’or at Cannes, where the honour is awarded to the director in accordance with the notion, introduced in Cahiers du cinéma in the 1950s, of the director as the “auteur” (author) of the film. It is fitting that a film shot in two parts across the United States and Europe, based on a thematic contrast between the American and Italian, or more broadly European, take on the Western, should have its ultimate accreditation similarly divided. Tonino Valerii was undoubtedly the director of this European (Italo-Franco-German) production, but Sergio Leone, in his classical American approach to production, was its auteur.
The article itself has supporting photos which complement the text nicely. The only downside is they did not let me proofread it before it went to print so it has several typos for non English words (I used Italian, Spanish and French sources) and had a couple of incorrect captions under the photos which were all written by someone else. In the next issue of Cinema Retro they then issued a correction regarding some of the major errors! Cinema Retro is in general a great read by the way, although I appreciate perhaps not as easy to get hold of outside of the UK and US where it is published.
Generally Cinema Retro seems a bit too retro for my taste, but there are doubtless interesting issues for me amongst them. And yes, it is not that easy to find here.
In the case of MNIN I even think that Leone is the director, even if he did not sit in the director’s chair most of the time, but I assume he controlled the film so much that it is nearly completely his, and though different if he really had directed it completely himself (but more in concept than in matters of style). That his style dominates the film so much that Valerii gets invisible behind Leone’s power.
I’ve always compared this situation to the Howard Hawks/Christisn Nyby debate for The Thing From Another World. Hawks’ influence is all over it.
Regarding the opening scene, this was a nice quote from Gastaldi in L’Âge d’or du cinéma de genre italien:
It was during the summer and Sergio had remained in Rome while Valerii was shooting the film in the USA. Then while I was on vacation, I received a surreal phone call from Sergio: “I’ve just had Tonino on the phone. He’s telling me that he can’t film the scene at the barber’s because the barber is never stationary enough for us to keep the barrel of a gun in his crotch!”