Then they'd scrutinize you very tough, but the fact that you're doing a western that's supposed to be laid in southwest America or Mexico, they couldn't care less what your story or subject is." Top Italian cinematographer Tonino Delli Colli was brought in to shoot the film and was prompted by Leone to pay more attention to light than in the previous two films; Ennio Morricone composed the score once again. Leone was instrumental in asking Morricone to compose a track for the final Mexican stand-off scene in the cemetery, asking him to compose what felt like "the corpses were laughing from inside their tombs", and asked Delli Colli to create a hypnotic whirling effect interspersed with dramatic extreme close ups, to give the audience the impression of a visual ballet. Filming concluded in July 1966. Eastwood was not initially pleased with the script and was concerned he might be upstaged by Wallach. "In the first film I was alone," he told Leone. "In the second, we were two. Here we are three. If it goes on this way, in the next one I will be starring with the American cavalry." As Eastwood played hard-to-get in accepting the role (inflating his earnings up to $250,000, another Ferrari and 10% of the profits in the United States when eventually released there), he was again encountering publicist disputes between Ruth Marsh, who urged him to accept the third film of the trilogy, and the William Morris Agency and Irving Leonard, who were unhappy with Marsh's influence on the actor. Eastwood banished Marsh from having any further influence in his career, and he was forced to sack her as his business manager via a letter sent by Frank Wells. For some time after, Eastwood's publicity was handled by Jerry Pam of Gutman and Pam. Throughout filming, Eastwood regularly socialized with actor Franco Nero, who was filming "Texas, Adios" at the time. Wallach and Eastwood flew to Madrid together and, between shooting scenes, Eastwood would relax and practice his golf swing. Wallach was almost poisoned during filming when he accidentally drank from a bottle of acid that a film technician had set next to his soda bottle. Wallach mentioned this in his autobiography and complained that while Leone was a brilliant director, he was very lax about ensuring the safety of his actors during dangerous scenes. For instance, in one scene, where he was to be hanged after a pistol was fired, the horse underneath him was supposed to bolt.