00:11Sì, come da te, dobbiamo prendere come un compliment.
00:14Wow, man!
00:23We're going to be spending a lot of time up here.
00:26They thought that I could find interest in this particular script, and I did.
00:31It was like, I think that I know why you're calling me.
00:34They know that I'm a musician, that I love musicals, that I love adventure movies,
00:39and the flavor of the Golden Age.
00:41Well, when I read the script, it was like, is this true?
00:44I thought it'd be fun to do a thriller about that emotion and just make it totally literal.
00:48This thing that a musician always has in their mind that the audience is out to get them, I think,
00:53just make that what's actually happening, that there actually is someone in the audience with a gun pointed at you,
00:58and if you screw up, it is your head.
01:01And I loved the script.
01:02It was kind of unlike anything I'd ever read before.
01:06It's, you know, a majority of the film takes place during this performance in real time.
01:13So that in and of itself was very exciting.
01:19And it reads so well, and it read incredible, I mean, it moves so quickly,
01:23and every second there's something happening.
01:27Get back on stage.
01:30Who is this?
01:30I think more about, like, if it's an interesting character to play,
01:35if the script's interesting, if the director seems like he's got an interesting vision,
01:39if I like the other actors.
01:40Recover your balance.
01:42Yeah, yeah, yeah.
01:42So it's like...
01:44And he's like...
01:45He told me about the filmmaker, and I was a great fan of Elijah Wood.
01:48I think he's a terrific actor, so I thought it was a very cool, small role to come in and
01:53do.
01:53Give me, like, your stuff, and then he's like, what am I doing?
01:57You know?
01:58Yeah, yeah, yeah, yeah.
01:58And, okay?
01:59Yep, freeze, and then pull him in, because he's vulnerable.
02:03Vulnerable?
02:03Vulnerable.
02:04Exposed.
02:04He sees me.
02:06Tom Selznick is a piano prodigy.
02:09A genius who had played a piece on stage that he kind of fell apart.
02:15Are you nervous about choking again?
02:17Choking?
02:18It was a massive fail as a piano player,
02:22with this very complicated piece called La Sunkette,
02:24and from that moment on he stopped playing piano live,
02:28and he developed stage fright.
02:30So we find the character in this moment
02:34where he's heading to perform again for the first time in five years,
02:39with great trepidation.
02:41It's the last thing that he wants to do.
02:43And his wife, Emma, has arranged this whole thing for him.
02:48Emma is an actress,
02:51and she is sort of in a moment of transition.
02:54She's about to have kind of a revolution in her career.
03:00She sets up this evening for her husband, Tom,
03:04so that he can kind of come back to the stage
03:06and have maybe a similar moment in his career
03:11of kind of resurgence and kind of coming back to the public.
03:14The only formula to make it factible
03:17was to carry all the paintings in the digital work.
03:21We really couldn't create a movie so complex
03:24in the real world.
03:26We had the opera in Chicago,
03:28or the liceo,
03:29or the theater closed for three months.
03:33We never could have done the vision of Eugenio.
03:35So we're with Alex and we're looking for a formula
03:37to develop a system of work.
03:39How do we do it?
03:40Well, we build a real part
03:41and the rest in digital.
03:44We have a part that we have built
03:46in a plateau,
03:47in a plateau really big,
03:49a very big one,
03:51but the rest no.
03:52We have a giant green screen.
03:53and there we have a theater
03:56that we have to do in 3D.
04:02And what we're going to do
04:03is we're going to do from several points of view
04:06to put you in the background,
04:08to duplicate you
04:08and you'll be able to find out
04:09several times in the background
04:10that you won't distinguish.
04:12We had 200 extras reales,
04:14250,
04:15but the theater that we're going to create
04:18is about 3.500 localities.
04:20We're creating a theater
04:21entirely digital,
04:23full of people,
04:24but at any moment in the movie
04:25you always have to have the illusion
04:28that that is real.
04:31I hope that the audience
04:33gets that despite these movies
04:35it's a thriller
04:36and it has all these vibrations
04:38that seem to be so tied
04:40to Brian De Palma
04:41or Hitchcock's universe.
04:43Grand Piano
04:44is a Hitchcockian film
04:46that stretches the end
04:48of Albert Hall,
04:48the man who knew too much
04:50for a half an hour
04:50and a half,
04:51becoming necessarily
04:52the film of a director,
04:54a director especially
04:55dedicated to the sequential art
04:57and that does not create
04:58an arbitrary cover of planes,
05:00but in the cinema
05:02with a deep sense
05:03of love for the narrative.
05:05I think that movies nowadays
05:06are more defined to be unanimous.
05:09You talk about the movie you've seen,
05:10that it comes out of the mouth
05:12of the guy who went to see the movie
05:14here and there
05:15is exactly the same thing.
05:16And I think the Grand Piano
05:17is very open to interpretation.
05:19You can play with information
05:20in your head
05:21in multiple ways.
05:23Don't disappoint me, Tom.
05:24And I'm very proud of that.
05:26I won't disappoint my audience.
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