00:00Come did you choose this story?
00:03What makes you tell this story and is it worth telling?
00:07I think it's always the other way around.
00:09It's not the artists or the authors, the directors, the writers who choose the stories,
00:15but the other way around, that is, at a certain point you find the story that finds you.
00:23And this one started, let's say, by chance,
00:26because I started reading a book about the monster of Florence and from that moment I couldn't stop.
00:32I mean I read practically everything that had been written,
00:35then I moved on to the court documents, then to the trial documents, I read everything.
00:42It became a sort of obsession because it seemed like a very powerful story.
00:47I was shocked at the idea that no one had ever told it before and so I said no,
00:52we absolutely have to tell it.
00:53Um, the investigations revolved around the common point that these murders have,
01:00namely the murder weapon.
01:02Did this modus operandi of the investigation also guide you in the creative and writing phase?
01:09No, what we are saying is that the modus operandi was the same and the weapon was the same,
01:14this is something that is evident.
01:16Let's say that the theme that we addressed with Leonardo Fassoli,
01:25while we were trying to figure out how to organize the materials to tell the story of the monster of Florence,
01:31was that of the theses and investigative theories that over the course of 20 years were dozens and dozens and dozens and,
01:37moreover, they contradicted each other.
01:39That is, in every investigative theory there was always a fact that had been left out for convenience,
01:48no, in order to demonstrate the thesis.
01:51So we decided as an initial dogma to tell it without having to give answers,
02:01that is, without having to imagine a solution,
02:04but simply, therefore without embracing a theory,
02:07but embracing them all.
02:08And so we realized that perhaps the only way to do it was not to just tell the story of the investigation,
02:22but to focus on the possible monsters,
02:24because obviously that would have given us the opportunity to tell all the investigative leads and in.
02:32Fact that's the aspect that I appreciated the most about the story,
02:36the fact that it moves like a sort of diagram that then branches out over time.
02:43At times I also had the impression that the interest was also in telling the story of abuse,
02:48the condition of women, the conditions of families,
02:51a whole series of fundamental elements,
02:54no, for Italian culture,
02:56especially that of the provinces, of the countryside.
03:00And how did this aspect guide you in structuring the characters?
03:06But that was precisely the case.
03:11If we had only told the investigative aspect,
03:14we would have basically told the story of investigators looking for a solution by turning it around,
03:19that is, working with suspects,
03:21you could.
03:22It was also an opportunity to tell the story of the social and cultural context of your country,
03:28because at that point you had human beings who had families,
03:31wives and they were still characters who,
03:33although perhaps not the monster of Florence,
03:36were characters who had absolutely monstrous aspects and,
03:39above all,
03:40lived in a social and family context that was also monstrous.
03:43And so this was another one of the,
03:53let's say,
03:54elements that intrigued us about the true story.
03:57Also the possibility of telling how the culture of a country is not so different in reality.
04:02Today we think that this is a story from the 60s and 70s,
04:13we have a sort of reassuring temporal distance,
04:16but today femicide is just as relevant today as it was back then,
04:20with obviously cultural differences,
04:22but in essence I find that it is still an absolutely topical issue today.
04:26Why do you think true crime is so successful?
04:34Why is it so interesting,
04:36so compelling to follow these types of stories?
04:39Because it's a way to metabolize evil, right?
04:43I think it's the modern equivalent of Anderson's fairy tales.
04:48They were incredibly cruel.
04:56There were children abandoned in the woods,
05:02eaten by wolves,
05:03but it was simply a way to educate,
05:05let's say,
05:06to make people live with the idea of evil,
05:08and I think there's a natural attraction,
05:10as well as a desire on the part of all of us to see that evil so isolated,
05:15far from us,
05:16with the features of a brutal serial killer because we would like to not,
05:19like,
05:20imagine that evil is much more banal and much closer to us than we would like.
05:26Amen.
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