00:00You know, I'm working, I'm learning Italiano, in studio.
00:14Mi piace guardarti occhi chiusi, mi piace.
00:18Ti santo respirare, e mi manchi.
00:23La petite fille dice que Clarisse, si è una feria o una witch.
00:35Fée o sorciere.
00:37Possiamo dire che è una realità realizzata.
00:41Quindi, in vostro opinione, è più una feria o una witch?
00:50Yes, at the beginning, let's say that she's a witch,
00:55because we can judge her.
00:58What? A woman who leaves her children and her husband
01:04and leaves like that?
01:06That's not nice.
01:08But in the same time, we all have imagined doing it, you know, at home.
01:19We all imagine, one day, I want to leave.
01:25I will go and take that door.
01:28Oh no, it makes too much noise.
01:30What do I do with my CB card?
01:34What do I do with my phone?
01:36We thought about it.
01:37Like witch, you know, like...
01:39And, of course, what the little girl says,
01:45then we understand that it's even that is, of course,
01:50words that Clarisse puts in the mouth of her little girl.
01:55It's her wanting to have a communication with her little girl
02:04that she knows is under the snow,
02:06and she has to wait for the spring,
02:11because that's the reality.
02:15And it was, I thought, more welcoming to start by thinking
02:23that it's a woman who leaves because we want to follow her.
02:28And why? Why is she leaving?
02:30And then there is something like a fairy tale.
02:36Yeah, she's more a fairy because her gesture of invention
02:47is only a gesture of love, in fact.
02:51And she makes them grow and grow in the future,
02:56the future that will never exist.
02:58And she picks kids in the school that are a bit older than her daughter.
03:07And she puts her, by imagination, in the house.
03:11And, yes, she could be there and doing.
03:16And she makes them live.
03:18And that's like a fairy.
03:22We believe it like a fairy.
03:25And I love how you work in an almost synesthetic way,
03:32because when the little kid says to his father,
03:38you throw mommy's perfumes away,
03:41you've broken mommy because he threw away the perfumes.
03:46and when she, she puts ice on her face when she's at the fish market.
03:52So there's a mix of emotions and feelings, smell, touch, ice, cold, warmth.
04:03So how did, why did you want to, first of all,
04:06why did you want to make a synesthetic movie?
04:10And how did you work on it?
04:15Oh, I'm very, very touched by what you say,
04:19because it's, yes, I, it, my obsession was to what is in the head,
04:27it would go down in here, you know, and, and it's, yes, very physical all the time.
04:35It's not phantoms. They, they are, you had to feel that it's the smell,
04:42the body of this man that she can't grab anymore.
04:48And she has to imagine that.
04:52And you know how it is when you lose somebody or when,
04:57when a love story splits and stops and that we are crazy.
05:05And we, we are in a delirium of trying to imagine the other that is not there
05:15because he left you and, and it made me think.
05:22So it's true that with the book of Claudine Galea,
05:25that she had imagined for the theater that she wrote 15 years ago,
05:30and it was never, never performed.
05:35There was, of course, a lot of words.
05:38that the little boy, for instance, would talk only through poems, little Paul,
05:46only poems.
05:47And there was on the texts, there was interior voices mixed with dialogues
05:54and things like that.
05:56And there was also, and so I thought, yeah, what happened is that the voices,
06:04the words were replaced by music and by gestures, by doing things, by really doing things.
06:19And that's how it became only, especially through the piano,
06:24because in Galea's texts, there was the piano that the mother uses to be in connection
06:31and the car, and how she uses the car, the radio, the things, like if she could,
06:38she could, like a space fiction film, you know, she, she could communicate.
06:47And that's why the words became more rare.
06:53And it was those, the smell, as you say, the loss, that's really,
07:01and because it's Vicky, you know, it's Vicky Creeps.
07:06So, I think Vicky brings this, this pain and this light, this going towards life,
07:20and not respect death as something that you have to, to be respectful and love.
07:30No, no, it's not a matter dolorosa, it's not, no.
07:34I have to ask, because you will be soon in Italy to present this movie,
07:39but also to shoot with Nanni Moretti.
07:42and he, like you, is both an actor and a director.
07:48So, how is working with someone just like you, a director and an actor?
07:55Are you scared? Are you, do you want to, or are you a little bit concerned?
08:03And I am very excited. I'm very moved. This is like a dream, you know.
08:12Nanni Moretti is part of my soul since I'm 16, 17 years old.
08:21I loved films through Nanni's films and humor and anger and concern about the world.
08:32And that we, we can't, we have to have responsibilities like in Treppiani, you know.
08:38I mean, things are, and, oh, he's inviting me in his worlds.
08:45I mean, it's crazy. I'm going to be part of a Nanni's world.
08:51It's crazy. So, I'm, you know, I'm working, I'm learning Italiano,
08:59in studio, and, so.
09:06I think you will be, I think you will be great, as always.
09:11Thank you so much. And your movie is amazing.
09:14Thank you so much.
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