00:00Come ti senti a guardare di Romeo e Juliet e Moulin Rouge oggi?
00:03Ti senti cambiato in qualche modo, come un uomo, come un director?
00:06Sono come i figli.
00:09Abbiamo questo desiderio,
00:11si tratta di loro,
00:13si proteggono loro,
00:14si tratta di loro iniziali,
00:16si tratta di loro,
00:17ma poi si crescono,
00:19e si trovano una connessione con un'audienza.
00:22E questo diventa un'unica relazione che non ti invito.
00:26Per la prima volta,
00:27abbiamo visto Moulin Rouge e Romeo e Juliet con distanza.
00:31Io guardo Leonardo DiCaprio,
00:33è così young,
00:38è 19, 20.
00:40E quindi,
00:42per la prima volta,
00:43ho visto nostalgia in questo.
00:44Io guardo e pensavo,
00:45che era il tempo di Romeo e Juliet.
00:47Il tempo ha passato.
00:49E la cosa di Blu-ray,
00:51è che non è film, non è video.
00:54Ho cercato di mantenere i film,
00:56i film che conosciano,
00:57e il sentimento che conosciano,
00:58ma abbiamo cercato di ottenere un sentimento MGM tricolore.
01:01E su Blu-ray,
01:02tu puoi capire.
01:03Quindi,
01:03senza cambiarlo tanto,
01:04che non lo riconosce,
01:05ho cercato di profondare
01:07l'esperienza visuale dei film.
01:10Quindi,
01:10quanto sei coinvolto in la realizzazione?
01:13Estremamente.
01:14Cioè,
01:15lavoro con Yann,
01:16che è un colorista molto talentoso,
01:17ma è come
01:19il brusco.
01:20Io sito con lui,
01:22potrei andare in mattina,
01:23ritrovo,
01:23ritrovo,
01:24potrei lavorare per alcuni giorni,
01:25e poi ritrovo.
01:26Ma trovo sempre
01:27sento con lui,
01:28lavorando scena per scena,
01:31colorizzando.
01:32È come pittura.
01:33In questo film,
01:35il concepto del postmoderno
01:37viene a mente immediatamente.
01:40Sì.
01:40Do you think this concept,
01:42this idea,
01:42is still alive?
01:43Well,
01:43I think it evolves
01:44onto something else.
01:45I mean,
01:46postmodern,
01:46I wasn't really,
01:47I was aware of postmodernism.
01:49I was,
01:50you know,
01:50it was a catchphrase
01:51that was around a lot.
01:52But we were just that.
01:53I mean,
01:53my whole generation
01:54was just that.
01:55I mean,
01:56Quentin's film,
01:57at the moment,
01:57in Glorious Bastards,
01:58and what he does,
01:59I would belong to a generation
02:00of filmmakers
02:01who were happy
02:02to look back
02:03to their love of cinema
02:05and re-engage that
02:08in a way in which elements
02:11from, say,
02:11the previous wave
02:12were rejected.
02:13You know,
02:14it wasn't like French New Wave
02:15realism.
02:15It's not realism,
02:16it's theatrical cinema.
02:18You know,
02:18it's not like Quentin and I
02:19got together and said,
02:20let's do theatrical cinema.
02:21So I think that,
02:21I think that we grew up
02:24in a generation,
02:24and we're now not
02:25the young ones anymore.
02:26I mean,
02:26we're in our forties.
02:27We've inherited somewhat
02:29the position of being
02:30the filmmakers of this time.
02:32And I think that whatever is coming
02:35must find its own cinematic language.
02:37we now, rightly or wrongly,
02:39we have a cinematic language.
02:41It's hard to get away from it.
02:42And why would you?
02:42It's what we,
02:43it's how we told stories.
02:45You know?
02:46Do you think there is a real competition
02:48between home entertainment
02:50and movie theaters?
02:52I don't think there is a competition, no.
02:54I think that,
02:55that,
02:56there are films,
02:58we all know it,
02:59where we go,
03:00I'll see that at home.
03:02But there are,
03:02I think,
03:03there's a healthy thing which,
03:05cinema has to be eventized.
03:09Nothing can replace being next to a stranger
03:11in a darkened room
03:12or many strangers.
03:13and in that moment you will react
03:16and in that moment you are united
03:18with strangers
03:19through an experience of story
03:21that you're having.
03:22Nothing can replace that.
03:23But the love of cinema
03:25and for those,
03:27the home end experience
03:27is becoming for a singular experience.
03:32I mean,
03:32Blu-ray does,
03:34to me it's like,
03:35if you have a relationship with a movie,
03:36it just makes it deeper, richer.
03:37it doesn't,
03:38a movie you love you can watch
03:39on a black and white TV,
03:40you know,
03:41and still be good.
03:42But to see it,
03:43realized with a sort of rich color,
03:45the depth,
03:46you know,
03:46it just deepens your relationship with it.
03:48So I don't think
03:49it's a competition between the two things
03:52and in a way I hope it just makes
03:54the theatrical experience,
03:55I mean,
03:55it's called the theatrical cinema,
03:58it's called the theater.
03:59You go to a,
04:00you go to a movie theater,
04:02which means you go to a place
04:04in which there's an audience.
04:07and that is what you can't take away from.
04:10And what about 3D?
04:12Are you interested in this technology?
04:13Yeah, I'm very interested in 3D.
04:14I think it's making enormous leaps and bounds.
04:16I think it's right for some things,
04:17not for others.
04:17But the other thing is,
04:18I think you have to learn to redirect in 3D.
04:20I mean, we're about to see that with Jim.
04:21I've seen some early 3D that Jim did.
04:24And it's such a powerful thing.
04:26You don't,
04:26you have to learn to direct within the frame differently
04:29because it's more like the stage actually.
04:31A figure moving in 3D is more powerful
04:33than the camera is too intense.
04:34So it is just, you know,
04:37technology changes.
04:38It's like when sound came in,
04:39silent films were brilliant
04:40and then they dropped.
04:42When early sound came in,
04:43we were too serving the technology.
04:44I think it's always a warning
04:46not to serve the technology
04:48but allow the technology to enhance
04:50and, you know,
04:52make stronger what you're trying to do.
04:53Yeah.
04:54Okay.
04:54Grazie.
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