00:00This is Tim Wasberg from Festtrek on Surf TV.
00:29I'm here in Cannes, France for the Cannes Film Festival.
00:32For me, the tone is not something that I want to impose to a film.
00:37Like I don't start like saying it has to be a comedy or a drama.
00:41I don't care particularly about kind of boxes, let's say, but I'm more like I try to find
00:50the voice of the character, first of all, and then the voice inform me on how the film
00:55is going to be, you know, so I don't try to have a tone of the film from outside.
00:59But I try to find it from inside, like, what's the voice of the characters?
01:02And then I understand that maybe, yeah, how to write it and, but there is comedy and drama
01:09and it's, I like the ambiguity of genre mostly.
01:13Like, I don't like when a film is just one film.
01:16What the hell, this beer?
01:17You know what?
01:18You know what?
01:19It's strange.
01:20Eh?
01:21Excuse me, signorina, excuse me, but this beer has a strange taste.
01:28An alcoholic.
01:29Eh?
01:30Eh?
01:31Eh?
01:32Eh?
01:33Eh?
01:34Eh?
01:35Eh?
01:36Eh?
01:37Eh?
01:38Actually, for me it was a process, I went a lot around bars and for a lot of years and
01:57I would like take note on my phone, like I have a huge note of dialogue I heard in bars.
02:02In Italy?
02:03Yeah, yeah, in Italy, in Northern Italy.
02:05And slowly I got to have like a, you know, I could catch a musicality of some voices that
02:12interested me and so I developed the two characters like this and at some point with me, for me
02:23and my co-writer was extremely clear who was who, even if they, on paper, you know, they
02:28don't have a, they're different, but they're different just in what they say, you know, in
02:34the script, you don't have that feeling of physicality.
02:40And then when I cast them, of course, this thing became sharper and sharper and sharper
02:45also because Sergio is very good with voice.
02:48The one playing Carlo Bianchi is very good with finding a voice for the character.
02:53And Pierpaolo is a super famous rock singer in Italy.
02:58So he has his own distinct voice, but it adapted perfectly to the dialogue.
03:03So.
03:04L'aeroporto si chiama di Venezia.
03:06E sta a Treviso.
03:08Per incolare i turisti.
03:11Ok.
03:12Come arriva qua da Treviso?
03:15Andiamo a prenderlo noi.
03:20Eh?
03:21Tocca che andiamo a dormire subito perché se no domani non ci sveglieremo mai.
03:26Eh no.
03:27E' l'ultima?
03:29No, no.
03:30No, no.
03:31No, no.
03:32We looked for a lot of time for this look and at some point we found it.
03:46For me inspiration was Bruno Gantz in The American Friend by Wim Wenders.
03:51I love the stash.
03:53And so I tried to have that, but more worn down, let's say.
03:57Yeah.
03:58No, but the physicality as well for dancing.
04:00Ah, yeah.
04:01Like when they're trying to get the young man.
04:03Yeah, for the dancing I went to like a country fair in my hometown.
04:07And there was this guy dancing like crazy but alone.
04:11And I filmed it and I sent it to the actor and said okay.
04:15Approach this as if it were like a choreography.
04:18So study the movement and do it exactly like this.
04:21And so he studied that video of that guy that was dancing in that way.
04:25Let's see if we can get the last one.
04:27Let's see if we can get the last one.
04:28Well, it's not alcohol.
04:29Eh, what did you do?
04:30The last one.
04:31What did you do?
04:32What did you do?
04:35Carlo Bianchi?
04:39Let's see if we can get the last one.
04:41Let's see if we can get the last one.
04:55As far as playing drunk, when we went into rehearsing for the film,
05:01we had a long process of rehearsing.
05:04Then I told them that when you're drunk, the process you have
05:09is not to show other people that you're drunk.
05:12So I asked them not to show to the other people to try all the time
05:16to walk straight because that's what you do when you're drunk.
05:19You want to walk straight and you want to look like you as if you were not drunk.
05:24And that's what I asked them to do.
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