00:00It might change, you know, how you see it, where you see it, why you see it, and even the
00:07content might change.
00:08But the idea of just sitting down and exploring and experiencing something that is on a screen that can take
00:16you to all kinds of troubles and memories and emotions, it remains untouched and unchanged.
00:44Diana in the movie says that past and present are the same thing, there's no future.
00:52Can we say that she's Marty McFly and you are her dog because you gave her future back?
01:00No, I think she's just talking about someone that is dealing with her role.
01:09I think any member of the royal family, whether if you're someone that came in as Diana or you were
01:17born in the family, has to deal with an enormous force, which is history and tradition.
01:26And I think it's a beautiful idea that comes from Steve Knight that eventually, you know, certain perception of time
01:37can be blurred.
01:38You know, when you say past and present are the same thing, it's that you don't know anymore where you
01:43are and what part of history are you being a witness of.
01:48And I think that's what it is and I think the idea that there's no future, it speaks about the
01:56context of the character.
01:58The word trauma comes from Greek and in English means wound, instead in German trauma is dream.
02:09So I want to ask you, your characters are more haunted by their dreams or their traumas?
02:17Don't you think it's the same?
02:20I don't know.
02:22I mean, you tell me.
02:24I think they're connected for sure.
02:26And I think dreams are always an expression of our traumas and our desires.
02:36And I think they are connected in a subconscious way.
02:41And I think that's what's so beautiful about movies, that you can create a psychological aspect of the character and
02:51the situation that could probably make you think about the traumas and the desires.
03:02Yeah, I think it's it's probably the same element.
03:08I love how you use food in this movie.
03:12Food is life, is caring.
03:14And you made Diana eat pearls.
03:17So how did you work on food?
03:20Well, we wanted to have a very precise look, but it would look like food that looks not only well,
03:30but it creates the desire to eat it for all of us.
03:35But then our main character, Diana, would struggle with it.
03:39I think food can become a problem, especially in the situation of a Christmas context, where people are supposed to
03:49be eating all the time in order to enjoy Christmas.
03:54And then it becomes another way and another kind of trauma for her because she's forced to eat when she
04:03doesn't want to eat.
04:05And when she does eat, eventually, because of her sort of mental health situation, she decides to take it out
04:15of her body.
04:16And that's a cycle that I think it's quite important.
04:21I don't know.
04:22I'm very sure that an eating disorder is always connected to a psychological stress.
04:32So food becomes a strange kind of enemy, which is quite unusual, but very beautiful.
04:41I love that one main theme of all your movies is the search for freedom.
04:50So I want to ask you, what's freedom to you?
05:00It's that thing that you can only notice that you don't have when you lose it.
05:10It's so necessary for everyone and so regular for most people that when you don't have it, then you really
05:20miss it.
05:21It's like health.
05:24But it's essential to humankind.
05:28And nowadays, in a world that is in the middle of a war, that word has a different meaning.
05:37But sometimes we think that the only way to achieve freedom is when we get free from others or from
05:45a situation.
05:48But I think that the real freedom can only be achieved with yourself.
05:53If you can be free with who you are and then probably things might be easier.
06:02And I feel that many of your characters are almost like ghosts.
06:09So why are you so obsessed with ghosts and ghost stories, even if they don't look like ghost stories?
06:19Well, because it's I think that we use words to describe it and we say it's a ghost because it's
06:28a visual manifestation of something that can only or usually only exist inside of the character.
06:36But I think movies can do that movies can portray what what some people or in this case Diana could
06:44potentially be seen.
06:45You know, I think that we all have visions all day long.
06:49We have memories, we see pictures, we see our phones with images, we see ourselves in reflections, in mirrors and
06:59when you put them on screen, they become the ghosts.
07:01But I think it's part of our experience, but I think it's part of our experience on a day-by
07:06-day basis, I think.
07:08This is really interesting because Charles tells Diana that there must be two of her.
07:17And today we agreed to this.
07:20You were saying it, social media split us in two.
07:24So why in Europe are we doing this and where this will take us?
07:32Cinema can help.
07:33I don't know.
07:34Oh, I don't know either.
07:36I don't think I have a very intelligent answer for that.
07:44I don't know.
07:45I think social media is not really to show others who we are.
07:48It's to try to create our own identity.
07:52And that's why I don't have social media.
07:54I guess.
07:57What cinema today to you, since everything is changing?
08:03I think it's the same as always.
08:05I think it's one of the most wonderful human manifestations around art and representation.
08:18It might change, you know, how you see it, where you see it, why you see it, and even the
08:24content might change.
08:25But the idea of just sitting down and exploring and experiencing something that is on the screen that can take
08:33you to all kinds of travels and memories and emotions, it remains untouched and unchanged.
08:45And I think that's wonderful.
08:48And I think that's wonderful.
08:49I wouldn't know what would happen, but I would be different.
08:52Thank you so much.
08:53I love the movie.
08:54It was my favorite in Venice.
08:56Bye.
08:57Thank you so much.
08:58Take care.
08:59Bye.
08:59Bye.
09:00Bye.
09:02Take care.
09:09Bye.
