00:00Quando ero in Cannes, mi piace il tuo film, mi riuscì molto forte, ma alcune persone
00:05dicono che se un film ti riuscì molto forte, non è molto serio e non puoi parlare
00:14di temi seri, io totalmente nemmeno, ma cosa direi a persone che pensano questo?
00:20Che hanno un po' di stick e dovrebbero tirarlo.
00:30C'è una scelta di un marchio imbronciato o un marchio sorridente?
00:33È un marchio imbronciato, vero?
00:35Congratulazioni! Mostrami lo sguardo Balenciaga!
00:38All'improvviso sono vestito con qualcosa di molto meno costoso!
00:42H&M! Siii! Balenciaga, H&M! Balenciaga e H&M!
00:48I knew your movie was gonna win Cannes, because...
00:53Did you bet money on it?
00:54Unfortunately I did not, but I said that instantly and my cult scene of Cannes 75 was Balenciaga
01:03H&M scene. I want to ask you why it's absolutely true Balenciaga advertising is all sad and gloom
01:12and H&M advertising is so happy, why in your opinion expensive means sad and cheap means happy?
01:20Because I think it's how you position yourself from above or from underneath and the luxury of being up there
01:30and being a little bit better than other people on the top of the pyramid, that is like what you're
01:36selling when it comes to that.
01:37And the reason that I got to know about this aspect was because my wife is a fashion photographer.
01:45So she told me if you look at the brands, how they are marketing themselves, the more expensive the brand
01:50gets, the more the models are looking down on the consumer.
01:54And it makes sense when you look at how the fashion industry are selling their clothes because they are selling
02:03a camouflage.
02:04We are buying camouflage for the social group that we are connecting ourselves to.
02:10Speaking about selling things, in your movie you speak also about capitalism and in capitalism everybody that can make money
02:20as a value.
02:23And today I feel that even important teams such as equality, such as climate change are used to have profits.
02:31So if anything can be transformed in money and in business, how can we find the truth?
02:39Well I think that the problem is that we live in such an individualistic society that we have a hard
02:47time organizing ourselves and doing things together.
02:51So if you for example look at Scandinavia and the Scandinavian countries like Sweden in the 80s, we had a
02:57great trust in the state.
02:58So we realized if we share the responsibility of taking care of each other, we are going to create a
03:05quite good system and a quite good country.
03:08And if we lose this trust in the state, then we become more and more individualistic and we believe in
03:15the, how do you say, the neoliberal idea about everyone can be a president and blah, blah, blah.
03:21You know, which is a certain kind of myth that is for me very connected to the American society.
03:31Well, then we are not going to be very good in organizing ourselves.
03:36And if, I mean, we can't solve the climate change with consumer power, for example.
03:41So for me it almost sums up the attitude of our times in the quote that is in the film,
03:48cynicism masqueraded as optimism.
03:52And we have to realize that we, in a very individualistic society, we are going to be very lonely.
03:59Your movie seemed almost like a work of, an entire work of fiction, but today with the nuclear menace and
04:08war and the pandemic, it's not so, so improbable that we will end like your characters on an island.
04:16Yeah, hopefully.
04:17And if it's so, what are the qualities that, in your opinion, will be more valuable, not beauty?
04:27Yeah.
04:28No, but then of course it would be the practical skill.
04:33And it's interesting when I look at my own life, I basically don't have any practical skills except from movie
04:40making.
04:40So I don't know how to, for an example, be a gardener or to do my own food or things
04:48like that.
04:49So yeah, if you end up on a deserted island, it's going to do something else than the amount of
04:55followers on your Instagram account.
04:57Yeah, you will be screwed.
04:58Sorry.
04:59You will be screwed.
05:00Yeah.
05:01Yeah, yeah, definitely.
05:04And speaking about profits and art, today we talk a lot about representation, people get crazy when we see a
05:15black mermaid or a black elf.
05:19In Europe, diversity in cinema is something that has a value, is something important or is again, as you were
05:28saying, cynicism, masquerade?
05:31No, you mean like when it comes to representation?
05:33Yes, yes.
05:34No, actually I think representation is really, really important.
05:37I think that it's a way of breaking patterns and I think quotation is very important.
05:44I think that we should use quotation in order to change patterns and structures that exist.
05:49But for an example, if you're trying to talk about a class society and you want to point out that
05:56class is connected to skin color,
05:58then sometimes you actually have to portray the world as it looks.
06:02And I did a film called Play when it was about a group of young boys that was robbing other
06:09young boys.
06:10And it was inspired of true events that happened in Gothenburg, the city where I come from.
06:15And the robbers, they had one thing in common and it was that they were black.
06:19So all of a sudden you had a very controversial image of five black boys robbing other young boys.
06:27And when class and skin color are connected, sometimes you have to create controversial images.
06:34When I was in Cannes, I loved your movie.
06:37I laughed so, so hard.
06:39But some people said that if a movie makes you laugh so, so hard, isn't so much serious and you
06:48can't speak about serious themes.
06:50I totally disagree.
06:51But what would you say to people that think that they have a stickiness?
06:56And they should pull it out because I don't think that they are true.
06:59I think that if you look at European cinema and for an example, a great example was Lina Wartmiller.
07:05That was witty and funny and very entertaining.
07:08And in the 70s, I think that European cinema was much wilder than it is today.
07:14It's almost that we have started to pose that we are dealing with very important topics.
07:19And European cinema have one great problem and it is that when we get money from the states, when we
07:28get the state-funded money, we are economically safe.
07:31So we don't have to reach the audience.
07:34But if you look at American cinema, they have to reach the audience.
07:38So my idea was to try to combine the best part of the American cinema that is reaching the audience
07:44and the best part of European cinema that is discussing society that is provoking questions and combined it.
07:51And I think actually the cinema of Lina Wartmiller and Bunuel was a little bit an inspiration of what I
07:58was aiming for also.
08:00And the producers of this movie are the owners of AS Roma football team.
08:08Yes, that is interesting.
08:10Do you support Roma now?
08:12Yes, 100%.
08:13Before I was cheering for Milan because of Zlatan Ibrahimovic.
08:18But now because of Dan and Ryan Freekins, I am now a great Roma supporter.
08:23Do you love Zlatan Ibrahimovic?
08:25I love him too.
08:26You should make a movie about him.
08:30It's hard to make a movie about him.
08:32I don't know who should play him, you know.
08:34Him, of course.
08:36Thank you so much.
08:38Thank you so much.
08:38Thank you.
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