00:00I think also what Stefano manages to do as well as his balletic,
00:05you know, he manages to find beauty and brutality.
00:23So Stefano Sollima is famous in Italy because his action scenes are almost like
00:31ballet choreographies. So I want to ask you, your past ballet training helped you for this movie?
00:40Stefano Yeah, I mean, listen, I think as an actor,
00:42I think if you have, you know, some kind of experience in physical movement in your history,
00:46it can only help for you as an actor, how you embody characters, how you move around. Certainly
00:50when it comes to stunt choreography, it's not too dissimilar to dance. So yes, it certainly does.
00:56But I would say that, you know, dance can also feel a little bit rehearsed, a little bit safe,
01:04a little bit like everything is quite precise. I think also what Stefano manages to do as well as
01:09his balletic, you know, he manages to find beauty and brutality, which I think is kind of what you
01:15are suggesting. I think it's true. He also manages to find the chaos of reality, the chaos of human
01:21beings. And that's one thing I've always admired about his work that I've seen leading up to making
01:28the film. And certainly one thing that I saw in him kind of capturing this movie and executing the
01:34movie. He's also very specific. He's very specific in what he wants. And he'll give you the space to
01:42kind of create and come up with stuff. But he'll always kind of bring you back into what his singular
01:46vision is for the character. I think that one of the main theme of the movie is the human factor.
01:54Everybody in the movie underestimate the power of human factor. So in your opinion, why? Why we underestimate it?
02:04It's such a good question. I mean, I think, you know, the people that we're dealing with in this film
02:10are all
02:11people of institutions, whether it's institutions of government agencies, institutions of military,
02:19the kind of the only person who kind of really, you know, isn't part of an institution aside from her
02:23church is John's wife. And she's immediately kind of taken out of the movie. Spoiler. I think that's
02:31in the trailer. So I think it's fine. But, but I think what the what those institutions do is they
02:37kind of
02:37their attempt is to remove that part of humanity. Their attempt is to, to distract you from it,
02:45to dissect it from you, to desensitize you to it. And I think what this hopefully, and this is only
02:53my opinion, I'm not sure if it was what is intended by the filmmakers or not, but hopefully what this
02:56movie is intending is saying, even within that, and even with immense loss, how do you begin to
03:03live again? Or how do you begin to feel again? And I think even though John's journey is one of
03:08immense
03:09destruction, I think he's doing it to try and feel something again. And I think it's poignant,
03:18it's subtle, for sure. But, you know, even amidst all this brutality that the characters are going
03:26through, the journey is just like, how do I get back to feeling something in my body, you know?
03:34About feeling something in your body, do you feel still electricity when you go on set or not?
03:41I wouldn't describe it as electricity, I feel it as anxiety.
03:46I would, I would describe it as anxiety and horror. And by the way, I still have that,
03:52I still carry that. It's never comfortable on a set. I'm not someone who sits down in his chair.
03:57I'm not someone who can relax on film sets. You know, it is an arena of performance,
04:03and it's an arena of discovery and exploration. And I think that's not a place where you,
04:08I certainly don't think that I can ever let my guard down. So I still feel like I'm learning a
04:14ton,
04:14even though I've been doing it for like 20 years or whatever it is, I still feel like every set
04:18presents
04:19a new opportunity to kind of learn something. And I learned a lot on this movie for sure.
04:24Okay. Thank you so much. Great work. Bye.
04:27Thank you. Take care.
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