00:10Signor Percival, molti film nella storia del cinema sono stati dedicati ad un tema così
00:15importante come l'olocausto, che cosa l'ha spinta in particolare a voler abbracciare il
00:21progetto di Storia di una ladra di libri?
00:30E' un bambino che aveva molto, non credo, non scrive, non scrive, non scrive, è stata abbandonata
00:35per la parente e è stata fatta con la foster parente in Germania, e in spite di tutte le
00:43delle cose che aveva face up, è stata fatta a vivere una vita positiva, e è stata
00:49la sua spirito e la sua determination che mi attraverte a me, prima e la sua storia, e
00:56e, you know, it would be wrong to say it's an out and out holocaust movie, because that
01:00was never my intention, and what I saw was an opportunity for a younger audience to go to
01:05the film and to be inspired by Liesl's character, to pick up books and to see the world in a
01:11different way and to maybe make a better life for themselves, but also I was shocked by how
01:17many young people that age didn't know anything about the holocaust, and this was a way that
01:23I could suggest that this, suggest to them what happened at that time and allow them to
01:29find for themselves. So, you know, it's not a story that you might imagine like many of
01:36the other great films that have been made, like Schindler's List, other pianist or whatever
01:40that was set inside a concentration camp. It's more of a child growing up in Germany under
01:48the Nazi regime and finding their own way through life, but through that she discovers
01:54the horrors of what happened at that time. And I think, you know, the more that a younger generation
02:02understands that and learns from history, like we should all learn from history, the less chance it will have
02:07happening ever again.
02:10What was the most important challenge in adapting for the great screen the
02:14romance of Zusak?
02:17In some ways it was easier than you might expect. I mean, one thing that we can't do, the book
02:23is narrated completely by death, and of course, you know, we can't do that in a film because
02:27it would just become dull just hearing the same voice over and over. So we tried to tell the story,
02:33to remind the audience that this is seen from another perspective, in the way that we shot
02:38the movie. You know, we shot it in a way that we might see a scene between two or three
02:45characters
02:45and become involved in that scene, and then we come back and see it from another perspective.
02:50So we're reminded in a gentle way that this is a story seen through the eyes of death from
02:57another perspective. But death isn't a dark character, he's not the sort of character that we should be
03:02scared of. He's a very sort of warm, witty, charming character. And in some ways he brings
03:09a humanity to death which people have found when they've read the book. They found him, excuse me,
03:15they found him quite appealing.
03:17Chi è papà? Si chiama Max, ha bisogno di aiuto. Ti nascondi da Hitler? Si, sono ebreo.
03:24Il film è anche una sorta di tributo, di inno alla bellezza delle parole e del raccontare storie.
03:32Anche ai nostri giorni l'arte, la cultura, leggere libri, vedere film, sembra essere l'unica
03:39arma che possediamo per combattere la violenza, l'odio, la discriminazione. Adesso senza fare
03:45discorsi troppo alti, però effettivamente è questo quello che noi possiamo fare per evitare
03:51che si ripeta un'altra volta.
03:52Yes, I agree. I think that, you know, if one educates oneself and reads and looks at culture
03:59and then that allows a person's mind to become open and to think freely and to think as an
04:05individual and to have their own thoughts. And I think once anybody becomes a fair-minded
04:11individual, then they will make sure that those atrocities never happen again. You know, people
04:17who perpetrated those terrible crimes tend to be very narrow-minded, very focused on hatred
04:23and they really only appreciated art in terms of what wealth it could bring and not a moral
04:33wealth but a material wealth. And that's to miss the central point, is that we are all human beings,
04:40that we are individuals and that by educating ourselves and learning from the great thinkers
04:46of the past, can we become great ourselves.
04:49Cosa si prova a lavorare con un grande come John Williams?
04:54It was incredible, you know, because when I was growing up I used to watch John's films that he made
04:58with Steven Spielberg in the cinema. And I never for one moment thought when I was 12
05:05years old sitting in a cinema that I'd ever get to work with the man that was composing
05:09these great scores. So it was a great honour for me, particularly because he's only really worked
05:15with Steven I think for the last eight years or nine years or something. But, you know, we met in
05:22Los Angeles
05:22and we got together to talk about the film because I'd heard he was interested and I wondered if John
05:29was going to make a great big score with lots of percussion and lots of instruments and I was worried
05:36that that might not be right for The Book Thief because in some ways he wanted it to be a
05:41small, gentle,
05:41film, quite a humble film, but a very emotional film, a beautiful film. But that was exactly why
05:47John wanted to do it. You know, John had read the script and we talked and he said no, it
05:53was the beauty
05:54and the fact that it gave him an opportunity to do something different that sort of attracted him to the
06:00project
06:01and he really has done an incredible score. I'm so blessed and so lucky to have worked with him.
06:06Thank you.
06:06My pleasure, thank you.
06:12property
06:12Penrose
06:13It's my pleasure
06:13It's my pleasure
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