00:00Andi e io amiamo la grande bellezza, il film di Paolo Tarantino, e c'è una gran sequenza di danza
00:05all'interno di questo film.
00:12Eccovi qui, a un passo da un abisso più grande di tutti noi.
00:16Non ci conosciamo, sono Sarah Miles. Ciao.
00:21You saw the future, perché il tuo film è set in un timeloopo. 2020 è il nostro timeloopo.
00:28So, first of all, where's my open bar? Because I don't have it.
00:35And second, without giving any spoilers, we see that a timeloopo è meglio lived with someone besides us.
00:44So, we just need to be brave.
00:46My question is, how can we find the courage to be brave and break the timeloopo?
00:52But, yeah, I think it's scary.
00:57The movie was kind of born out of these questions of insecurity when it came to commitment and relationships
01:05and finding meaning in a meaningless world and the struggles of being vulnerable.
01:11So, that's, it seems like a very fertile way to talk about that with this timeloopo idea.
01:16And it's, you know, I would say it doesn't even really matter breaking the loop as long as you take
01:21that plunge
01:22and connect with somebody.
01:23That's kind of what the movie posits, right?
01:25Is that it's enough to just commit and then maybe you break the loop, maybe you don't,
01:30but at least you have another person with you.
01:32You're not as lonely.
01:34Speaking about commitment, your loop is set during a wedding.
01:40So, the first thing I thought was, oh my God, marriage is the real nightmare.
01:46Why did you choose a wedding?
01:49Do you believe that we are so afraid today to commit ourselves and marry someone?
01:55I don't know.
01:56Yeah, no, there were different versions.
01:58A lot of false starts on a script level.
02:01tone was always the same of the story, but it was never, you know, there was a New Year's party.
02:06It was just a vacation out in Palm Springs, but at a certain point, our screenwriter,
02:11Andy Ciara, got married in Palm Springs and it was the best day of his life.
02:16And I was single and lovelorn and cynical and it was like the worst day of mine.
02:21And weddings do this thing, I think, where they hold a mirror up to everybody there
02:25and you kind of reflect on where you are in comparison to the kind of the paragon of happiness.
02:32And it just seemed like, you know, super fertile, a super, it's a great canvas to tell a movie
02:38and also a recognizable genre for us to kind of play with.
02:41And Palm Springs also is a place that I've been to multiple weddings.
02:45And I think everybody goes to weddings there that start to kind of feel a little similar.
02:50All weddings start to feel a little similar in some sense, if you go to a lot of them in
02:54a small period of time.
02:55I love how you worked on the physical aspect of the movie.
03:00We can understand how every character is by watching him or dancing.
03:07So how important it is to have the right moves at a wedding?
03:13Yeah, no, that's everything.
03:15That was something that came very early on.
03:18Andy and I love The Great Beauty, the Paolo Tarantino movie,
03:23and there's a great dance sequence at the top of that movie.
03:25So we were like, we should put a dance sequence at the top of our movie too.
03:29And you can learn so much about a character, right?
03:32By the way that they dance in it.
03:34Those are two kind of moments.
03:36The first dance where he tries to dance with Sarah and she turns him down.
03:39And then the second dance where they come together and do that dance together
03:43that made a lot of sense to us.
03:48And, you know, they were constantly practicing that dance on the set,
03:52Andy and Kristen.
03:54And so we started shooting those practices
03:56and those kind of made it into the montage a little bit
04:00and helped us understand that these two people were falling in love
04:03and kind of connecting through that dance too.
04:09Giornata stupenda per un matrimonio.
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