It's five-thirty pm and Saint Cecilia's auditorium in Perugia is full of people in anxious anticipation. Finally, accompanied by the theme music of the film Watch Out We're Mad Terence Hill arrives and the applause is thunderous. During the first half of the meeting Professor Claudia Minciotti Tsdukas summarized the history of Amelia's Alarico Silvestri, a relative of Terence Hill, and a Red Shirt ("garibaldino", an Italian nationalist soldier from the 1800s) who died in 1897 fighting for the independence of Greece. It was very moving when she read the man's letters aloud. After this presentation, the critic Fabio Melelli took to the stage to interview Terence Hill.
I report the interview verbatim. (ed. Translated from the original Italian)

Fabio Melelli: I would like to review with Terence Hill, in general terms, the major steps of his film career, a career that spans six decades of the history of our cinema (ed. Italian Cinema), having begun in 1951 with a film directed by Dino Risi Vacation with a Gangster. You were very young so I'd like to ask first of all how this debut came about?

Terence Hill: Before answering your question, I'd like to begin by saying: I'm here also because Alarico Silvestri was a relative of mine. He was the brother of Marietta, my grandmother. I'm sorry, now what was the question?

Fabio Melelli: The question was: starting at the very beginning of your career, how was it to work as an actor for Dino Risi?

Terence Hill: I was unhappy because I didn't like acting. I didn't like being an actor. I constantly had a fever so it was only with great effort that I was able to finish the job.

Fabio Melelli: However, then came many other films. You continued to make movies throughout the 1950s, becoming practically the archetypal fiancÚ of Italian cinema. There was for example the Franciolini film It Happened in the Park in which you were the fiancÚ to Annamaria Ferrero, and the film Lazzarella. Moving on to the 1960s, we get to Luchino Visconti's The Leopard in which you play a Red Shirt (garibaldino), the Count Cavriaghi. I believe that for you, this was an important event.

Terence Hill: Yes, it was the event which made me decide to dedicate myself definitively to a career as an actor, because up to then I was still not convinced that it was the life for me. Now I realize how important the experience was for me, because I participated in the making of a type of film that I believe comes about rarely in the history of cinema. For example, now when the costumes are selected, the director doesn't even approve them, or they are put together quickly the day before the shoot. For me, in that film, even though my part was very small, I had at least five costume tests, not just to see how they fit, but also because they needed to find the right shade of red for the shirt. That was because the Red Shirts wore homemade shirts which meant they weren't all the same colour red. Visconti was there for each of the five tests, for my tests, and for those of all the other actors too. So now I realize the attention to detail that went into making the film, and I know the enormous success it still earns today. I don't know if you're aware of this, but a restored copy of the film was shown in Los Angeles five years ago and it was a tremendous hit. My son said to me: "Wow, some films they made back then! And what a great film you were in!", yes, it was a wonderful experience!

Fabio Melelli: It's after that when your career enters an interesting period, at least for film historians. I'm referring to the German period. The truth is, before you made Italian westerns, the famous "spaghetti westerns", such as God Forgives... I Don't!, and later the comic variety with Barboni, you made several westerns that were German-Croatian co-productions. I believe that they were at least partially filmed in and around Zagreb, or anyway, in Croatia. They were a series of films directed by German directors, based on books by Karl May, who is considered the German Salgari. You made many of these. What was it like to film them and to act in these films?

Terence Hill: For me, it was a very happy period. In a sense, I'd left Italy for three years because, as you've said, I'd made all those films in which I portrayed teenagers, like Lazzarella and Cerasella, and I had become typecast in the role of the perpetual eighteen-year-old. So I left and went to Germany where I believe I made twelve or thirteen films. The best part was that I participated in the first European westerns ever made, which no one seems to know, but they were made by Germans, not Italians, because they were inspired by the author Karl May who is like our Salgari. But while I was in Germany, it was by then 1967, I realized that everyone was telling me to go back to Italy because they were producing these big westerns which I liked! In 1964 A Fistful of Dollars came out, but I thought by now I had missed the opportunity to make these westerns. But instead, when I returned to Italy briefly in 1967 (I want to say this because I'd like to explain the truth about how I got started in Italian westerns), the Italian western was by then dying off. There was a film crew in Spain with Bud Spencer and two other actors: Frank Wolff and one other. This film, conceived by Colizzi, who was an academic and an important novelist, was inspired by Aesops (ed. Aesops Fables) and the title of the film was The Cat, the Dog and the Wolf which eventually became God Forgives... I Don't!. It so happened that the actor who was supposed to play the cat, Peter Martell, fought continually with his fiancÚ, and one evening during a violent argument he tried to kick her but she managed to dodge the kick and he hit the wall instead, breaking his foot. The director, Colizzi, hurried back to Rome to look for another actor while the film crew waited in Spain. The funny thing was that I was with the producer Manolo Bolognini, the brother of the famous director (ed. Mauro Bolognini), making Rita in the West (ed. with Rita Pavone, italian singer) and Colizzi said: "Look, I have this part here, and if you put on a black hat, when I look at you like that, with those blue eyes, you look just like Franco Nero". That's how I got hired. Later, that film was released as God Forgives... I Don't! and it was a big hit. Even if the western was by then dead, they were still making over three hundred each year, but that film was a hit because there was already a bit of the famous irony in it and there were the beginnings of that buddy feeling between Bud Spencer and myself. Then we started with the famous fight scenes and when we made Four Gunmen of Ave Maria with Eli Wallach, Colizzi went around Italy to see the film in the cinemas and he noticed that when there were scenes with the two of us together, the audience responded the most. "When you're together with Bud", he told me, "the audience feels the chemistry, they laugh. So whatever it is, and I don't understand what it is, I'm putting the two of you together!"

Fabio Melelli: Even if Giuseppe Colizzi clearly gets the credit for having created the partnership or at least for having had the insight to let the two of you work together, I believe that the credit for having completely understood the comic potential of the Bud Spencer - Terence Hill partnership, must go to Enzo Barboni, who was also the director who directed you most often during your career.

Terence Hill: Yes, but let me say this, the initial spark came from Colizzi because I played the cat and Bud Spencer played the dog, therefore our relationship was already very clear! I think that visually Colizzi was exceptional. I remember this very well, because he made more films with us, but sadly he died very young. He created our characters, because the characters must be created by the director with an eye that has to be, how should I say this, very detailed, I mean with great care: how we dressed both Bud Spencer and I, how we were photographed. The lighting coordinator was Alfio Contini who was the lighting coordinator for many famous directors such as Antonioni. After these basics were already in place, Barboni did something unprecedented and surprising. He went all over Rome with a copy of a script that was called They Call Me Trinity, to all the production houses, telling them that he wanted to make this movie. The producers opened the script and said: "What's all this dialog? Where are the dead bodies? Pass!" In the meantime, Bud and I were looking for work. We had already looked at two or three scripts, that we didn't like, when Barboni arrived to show it to a producer. We happened to be there, and the producer decided immediately to take the risk, and it was considered by everyone to be a risk to make a film like that: strange, with strange dialog. Barboni had wanted to make the film with two other actors, but seeing that we were there and available, he said it was okay and that he would make it with us.

Fabio Melelli: One of those two was Luigi Montefiori (George Eastman) and the other was, I believe, Peter Martell, who for the second time missed out.

Terence Hill: Yes, that's right. You're very well informed!

Fabio Melelli: Getting back to Colizzi, it should be said that he directed you in non-westerns too. Actually, he was the director of All the Way Boys which was one of your biggest hits. I should also add that while you are of course best known for your comic roles in the comedies, and you're associated with action films, you've also shown your wide acting range and versatility by portraying dramatic characters too. The latest, for example, is the role of Don Matteo but even in the past, I remember for example, Lizzani's The Tough and the Mighty and then there was the Legionnaire Marco Segrain in Richards' March or Die and the lawyer Marco Manin in The True and the False in which your character defended Paola Pitagora of the charge of having killed her husband. So in the span of your career, you've always managed to redefine yourself as an actor with roles that departed from your usual comedies.

Terence Hill: Yes, before Trinity, I had some very diverse roles, as you say, but it's also true that when Trinity came out, I was the first person to be surprised by it's unusual success, especially because I didn't know I could make people laugh. I thought: "So I make people laugh, but how?" But I truly like westerns, and I was very attached to this role, and then there were the mothers who stopped me in the street to tell me to continue with these films because they could bring their children to the cinema without worrying about nasty surprises. So I felt obliged to continue, and I decided to continue along the same lines, just as I'm doing even today.

Fabio Melelli: In all these films that we're talking about, often the action scenes were finely orchestrated thanks to the contribution of Giorgio Ubaldi, who recently passed away, who was the action scene coordinator, and thanks to the varied group of stuntmen who, together with you, practically performed choreographed dances. Don't you agree?

Terence Hill: Yes, we had thirty stuntmen and they were on the set with us all the time. Today, if you wanted to find the same sort of thing, you wouldn't be able to, or it would be difficult.

Fabio Melelli: ....not the same stuntmen!

Terence Hill: Not in that sense. I mean those types don't exist anymore, they were unique, and films have changed. We were lucky to be able to create these fight scenes with lots of very talented stuntmen. And of course Bud was an athlete as everyone knows, and I came from artistic gymnastics, so we had fun filming these scenes without using any stunt-doubles for ourselves. We were rewarded by the audience who liked to see us actually in the scenes, instead of seeing an anonymous fight with a stunt-double... and of course we tried to add to all of it a sense of humour. You were right when you mentioned Ubaldi, because they really were choreographed dances. We needed lots of time to film them. For a single fight scene, we needed ten days, filming one minute a day. And when we filmed these scenes, he gave us the tempo, counting it out as if for a dance; each beat corresponded with a punch or a shove. So he constructed them very well even if no one noticed it, so that when the synchronized dance appeared on the screen, it was funny, hilarious even, and entertaining.

Fabio Melelli: I mentioned Don Matteo earlier. You've dressed up in priest's clothes before: once as a disguise in The Two Missionaries and then in the film that was your first time as director, Don Camillo in 1983. Why did you feel the need at that time to take on the role of director too?

Terence Hill: I had already made westerns and lots of other things, and I liked Guareschi (ed. The author of the Don Camillo stories) and I wanted to do something situated in Italy. And I thought the character was not that different from other characters I had portrayed, mainly because he was likeable, and there was his dedication to his work, and the contrast with the character "Peppone". But most of all there was my love of Guareschi. Actually, to make the film, I really had to have persistence because no one wanted to let me do it. Everyone asked me what I was doing, a cowboy, in Emilia Romagna, playing "Don Camillo"? But I didn't give up, and I ended up producing it on my own. And then, even though I had found a director, I liked the project so much I decided to direct it myself!

Fabio Melelli: A few years after that, you directed some episodes of the television series Lucky Luke and then you returned to your more traditional type of film Troublemakers, which was your third time as director, and was produced by Rialto Film.

Terence Hill: That's right, I returned to the Germans who produced that film. I wanted to make a film that was a bit like a final western with Bud, so I made Troublemakers. That's how we developed it, as The Night Before Christmas but then the letter "N" took a beating and became an "F" (The Fight Before Christmas). I loved making the film with Bud and taking up our story again from where we had left off. Our mother says to Travis, me, that she would like to spend Christmas with us and she sends me to look for my brother Moses.

Fabio Melelli: After that, you have a part in a film by Antonio Margheriti, which is rarely shown and was not widely distributed: Virtual Weapon. You appear in it with Marvin Hagler.

Terence Hill: This is a mystery to me too, because it was released everywhere except in Italy, not even on TV in Italy. I'm not sure what interests are being served by the people who bought and paid for the film by keeping it in the dark. I think there must be some financial slight-of-hand going on that we're not privy to. If the film Lazzarella, is shown on TV, why not show this film too, which is very entertaining, well made, filmed in Florida with Marvin Hagler whom everyone knows. He's a famous boxer who has had bouts with Sugar Ray Robinson, and has been called one of the five best boxers who ever got into the ring. I just don't know!

Fabio Melelli: We've now arrived at Don Matteo, a hit TV series, which has also brought a lot of attention to the city in which it's filmed. How did the idea come about to play a priest again?

Terence Hill: Let's just say it was an idea that came to two people simultaneously. One was Oldoini who was writing, or anyway already had this idea, and I was the other one. I wanted to play an amateur detective priest. I already had two scripts written, pretty good scripts too, but the character of the priest was, let's say, more active. He was once a paratrooper, so he was more of an action chaplain, but he was an amateur detective too since he was inspired by Chesterton's Father Brown character. I was preparing this project and I was in contact with Mediaset to realize it, and travelling between the U.S. and Rome. Then Mediaset told me that the RAI was going to make a show with a priest similar to Father Brown, so I had to come back with another idea because we couldn't go ahead with our project. I returned with another proposal of sixty pages which they liked very much, but as I was about to head back to the States, Bernabei (ed. of Lux Vide) called me to say that he wanted to show me something they were going to make for the RAI, and he gave me four scripts. I read them and liked them more than what I had in mind to develop. It was an idea that I had never considered, the idea of an amateur detective priest in a small Italian town. What I particularly liked was that he was continually being confronted with new characters with whom he had to interact. Since, as they say, acting is reacting, reacting to the other characters, and this was a wonderful possibility to react to many characters, I accepted enthusiastically Oldoini's idea and said "Yes" ...and that's how I ended up making Don Matteo in Gubbio.

Fabio Melelli: I know that there are some journalists here, and I think they would like to ask Terence Hill some questions, and if there are members of the public, seeing that this was conceived as a public meeting, who have any questions for Terence Hill, please step right up!

A dog: .....woof!

Fabio Melelli: Could someone translate for us?

(....Terence, and everyone, laughs....)

Fabio Melelli: I'll hand the microphone to the journalist Bruno Mohorovic.

Journalist: Thank you, good evening. Some questions I had were already asked, stolen by Fabio! Returning to the character of "Nobody" from My Name is Nobody, in which you worked with Henry Fonda under the direction of Sergio Leone, perhaps you could give us an idea about who was really the director of the film, if it was Valerii or Leone, even if the fingerprint of Leone is very evident. The character of "Nobody", what he represents in the history of that era of the western, becomes in some way the audience, becomes the screenwriter, becomes practically the scriptwriter of the film because he is the one who in reality is also the director given that he guides the acts of "Beauregard", therefore he is a bit the character who acts as a bridge between the classic western and that of your character of "Trinity".
I'll pose immediately a second question: your relationship with Bud Spencer, you were the beautiful one, blond with blue eyes, the clever one of the pair; Bud was the strong one, the muscles without a brain. Do you consider yourself to have played second fiddle to Bud, or did Bud play second fiddle to you?

Terence Hill: Well, I should first answer the question concerning "Nobody". My Name is Nobody came after the two Trinity films and was conceived of and created by Sergio Leone because when the second Trinity came out, he admired this film very much but he did not expect it to have much box office success. He was surprised however, when the film came out at the same time as A Fistful of Dynamite / Duck, You Sucker with Charles Bronson and James Coburn and we did better than they did. At that point in time, Leone had decided to stop making westerns, but he was still in love with the genre, so he conceived of a film that was like his own story and how he wanted the western to end. I came to understand this during many visits with him, and that he identified with the Henry Fonda character, who was confronted with a new character who was portrayed by me. The character was a bit like the hippy of that era, don't you think? He slept, lazed around, reacted only when provoked, had no worries and lived day to day with great joy. So Leone wanted to make one last western and it was a very premeditated western, done with great care and professionalism. Three scripts were written but Sergio liked none of them, the last one having been inspired by Homer's The Odyssey, but even that one did not work. But Sergio wanted to keep the name Nobody which is why it was called My Name is Nobody. Everyone asks me if the film is by Sergio or by Tonino. I don't want to answer this question out of tactfulness, however I can say that it was Sergio Leone's baby because he had wanted it so badly. I didn't know him at the time but he came to me and said: "I want to make a film with you, on a large set, with more financial backing, more serious, with more meaning, epochal". He really liked epics. Tonino Valerii was his assistant director so there was, you could say, a lot control coming from him. Sergio Leone, whom we all love, saw his moment in that film, and said he wanted to leave the western but wanted to leave a story like Nobody to remain in film history, "Jack Beauregard" pitted against the Wild Bunch. Oh! The other question was about "Bud Spencer - Terence Hill" and who was second fiddle. I find that a difficult question to answer because I don't know; I've never asked myself that. If I was the second fiddle I'd be happy, if he was I'd be happy too. What we enjoyed together was something unexplainable. I changed when I was with him and he changed when he was with me, instinctively. Big screen couples are rare because it's not, if you ask me, something that's studied or intellectual; it's an emotional thing. It would be simple if you could always just say, let's put him together with somebody and make them a couple. Producers would love it if they could do that. With us, it did happen like that, and it happened by chance. The famous punch that Bud Spencer throws, that everyone who enjoys these films loves so much, was born by accident. When we had to stage a fight for God Forgives...I Don't!, I was up in a tree. I was the cat and I had jumped onto him, the spurs scratched his face and I asked: "How do we finish this fight?". Since I was the cat, and the dog had to forcefully get hold of me, Bud said: "You know what I'll do? I'll punch you in the head and you" and I said, "You know what I'll do? I'll fall like a pigeon when it gets hit by a shot". That's how it came to be called by us and by the stuntmen the "pigeon punch", which consisted of going up in the air and falling straight onto one's side. We used it a lot in They Call Me Trinity, when we had Mezcal, a Mexican actor, do it, and he did it so well that he was asked to do it all the time! My answer is, we were put together by chance, by fate even, and it's not important who was second fiddle to whom.

Woman from the public: Don Camillo, Don Matteo... Terence Hill, what sort of relationship do you have with religion?

Terence Hill: Overall, it's a good relationship; I don't fight with religion! I always answer this question by saying that it's a private relationship; it's a cordial relationship, happy, serious, even angry. But I believe that it's difficult to speak of these kinds of relationships because they are very real relationships that are constantly changing. I think that it's the kind of relationship that everyone has, in one way or another.

Gentleman from the public: How interested were you, this evening, in the report about your relative Alarico Silvestri?

Terence Hill: Very interested. I have to offer my sincere thanks to Professor Claudia Minciotti because you have helped me understand much this evening, and last year when we spoke of this in Amelia. I never knew much about Alarico Silvestri. I remember that I had an aunt who would bring me every year to put flowers by his statue in Amelia, and there's one in Rome at the Giannicolo. But I was just a little boy at the time, and I never looked into it later. I knew that this great-uncle of mine was a passionate Red Shirt ("garibaldino"), and I used to play with his rifle and his sword when I was a child. So I'd like to say again, thank you to the Professor for having helped me know my relative as I've never known him before. This evening, only with difficulty was I able to contain the emotions brought about by listening to his story. It enriches me by giving me a relative from the past who can serve to help me better understand myself. In my profession, all the experiences that one has, as I learned at the Actor's Studio, can be used in an actor's performances. What I mean is, that when I'm performing, it's best to find a personal emotional experience to work with, which means that this evening's experience will reappear in my work. It's a relationship that's born today. It's something that I'll look into with greater depth because, after all, he was a relative of mine, a close relative, seeing as how I can remember Marietta, my father's mother, and Alarico Silvestri was her brother, and I was in touch every now and again with my grandmother Marietta to whom he wrote letters. Thank you, Professor. Today you have enriched my life and have given me a wonderful gift.

Gentleman from the public: I must apologize because today's meeting was not foreseen in my plans, so I find myself here with my little dog that I couldn't leave at home, which explains the bark from earlier. I would like to ask if among all the characters you've portrayed, there's one you're more attached to?

Terence Hill: Yes, I'm very attached to "Trinity" and to "Nobody". "Trinity" because his was a portrayal that came totally spontaneously, unconsciously. "Nobody" was instead a performance that was very studied. For the journalists here who are interested in cinema, I'd like to provide an example of what I mean. Sergio Leone wanted his films to be epic films. I had become something of a favourite of his, so he would take me to see his films when they were showing, and he told me that Charles Bronson's character in Once Upon a Time in the West / There Was Once the West, was made to always enter the scene from right to left. He wanted to visually develop this hero in that way, to have him arrive at the climactic moment to confront the bad guy, in this case, Henry Fonda. In the final duel, you can see that as Henry Fonda is walking in a circle, the background is turning too. Leone said to me: "Do you know how I did that?" And I said: "No, I don't know. How did you do that?" "I put him on a platform and made the platform turn together with the camera". Then when Charles Bronson enters the scene to confront the bad guy, he has him enter from right to left, which he explained later to me the reason why, and I remember I jumped up in my seat because the music composed by Ennio Morricone had been developing throughout the whole movie, and when the crescendo came, he (ed. Bronson) entered the scene, and the emotions aroused were incredibly strong. Sergio Leone worked on the unconscious of the audience to achieve this effect. And for My Name is Nobody, he told me: "You know what I'm going to do with you? I'm going to have Nobody enter the scene from bottom to top." That's why the first time you see him he's coming out of the water, which is actually a mythological reference. He created the emotional reactions in the audience, unconsciously, directing those emotions all the way to the climax of the story, in which by then the audience is clearly involved, continually playing with the strings of the archetypal characters. It's also for those reasons that I'm attached to My Name is Nobody, As a character, "Nobody" is very spontaneous and very direct, but supporting him is much that is well thought out and studied.

Woman from the public: I'd like to ask you what advice you would give to those who would like to undertake your same profession?

Terence Hill: The first advice I would offer would be to say that participating in the Actor's Studio classes helped me very much because, as I mentioned earlier, I really didn't like acting. But these are things that are commonly known about me, about why I didn't want to be an actor, so I don't want to get into them now. But I did suffer until I participated in the Actor's Studio classes, mainly because I was very shy and so every time I'd enter a scene my heartbeat would run up to 150 a minute. Actor's Studio, as you probably know, is a method that allows anyone, anyone, to become an actor, and if you have something even more inside of you, you can become an extraordinary actor. So if you want to be an actor, I'd say, from my experience, take some Actor's Studio classes or another acting school, because anyone can become an actor.

Federica: Ciao! Have you ever considered making a sequel to My Name is Nobody, you could take the part of "Jack Beauregard"?

Terence Hill: Yes, Federica. Sergio Leone is no longer with us, but he did make a sequel that was very different. He hired actors who were representative of the characters they were to portray. Henry Fonda represented the old west so he paired him with what he wanted the character to communicate. I would like to make another western; I thought about that just the other day. Maybe I'm getting to the point of being "Jack Beauregard", but I'm not sure. Anyway, I would like to make another western, of course one with a solid story, a beautiful story.

Journalist: Excuse me if I ask another question, but I'd like to address what you just said: that you'd like to make another western. We all know that Italian cinema is in something of a crisis. There's a fifty percent drop in audience figures. There's nothing to attract the audience. Do you think that, seeing that you've just said you'd like to make another western, that returning to genre films, with someone who is already linked to the genre, might help save Italian cinema?

Terence Hill: I don't believe bringing back the western can do that, not for cinema in general anyway. I would like to make a western only if the story is good, then it could be a big hit. It all depends on that. Like Clint Eastwood who was so successful with The Unforgiven and won the Oscar when westerns were already in crisis. So it all depends on the story. I don't know, actually, what would help Italian cinema, but I do see that there are lots of young people who are starting off with original screenplays. I thing that they need to be given more support, like the French do. The French protect their industry. As you probably know, they ensure that there are a certain number of French films in distribution compared to the American film invasion. This doesn't happen in Italy. I don't think there is any serious assistance in Italy. During the era of neo-realism, there was a spontaneity about the industry. There were few films and they cost little; there was no competition, and there were those amazing geniuses. It was an extraordinary time for Italy. Even today there are very creative people, but the clash is like the little man who fights the giant; it's an uneven match. If there is not a very real and serious assistante provided on the part of the government, I'd have to say that it's not going to happen because you're fighting a giant. So, I believe that the talent exists in Italy, and those who say it doesn't are not telling the truth because the talent exists, and there are wonderful actors. For example, those of us involved with Don Matteo, are finding actors in Umbertide, in Umbria who if you ask me are better than those who come from the cities. The talent exists, but there is no serious assistance. When the free market squeezes you out, you have to defend yourself like the French do. So, Italian cinema will have a chance when they finally, and seriously, with large amounts of financial support, protect our artists.

Fabio Melelli: Are there any more questions? By the way, you acted in another western produced by Sergio Leone, with Rafran, that was Damiano Damiani's A Genius, Two Partners and a Dupe, however it was aimed more towards comedy, wasn't it?

Terence Hill: Here we are, this answer may satisfy the journalist who asked about My Name is Nobody. Tonino Valerii was a student of Sergio Leone. Damiano Damiani, however, was an independent auteur, so the films that he made, were not made following in the footsteps of Sergio, in that style, which I think was a mistake. Westerns have a certain style; they have to have a certain rhythm; they have to have certain shots and set-ups which can't be improvised. But okay, I'm not going to say any more!

With one last round of applause for Terence Hill, the interesting interview ended having lasted over an hour. At the end, the President of the University for Foreigners of Perugia presented him with some gifts. And this is how the lovely evening ended, but before leaving, Terence signed autographs for everyone who requested one.