00:04I don't know, I don't know. I think Luca has a way of, with a lot of actors, with Taylor
00:09Russell on this one, and with many actors he collaborates with, he makes them feel wonderfully safe, very at home,
00:17like there's room made for them, but also that they should express the truest of human behaviors and characteristics. I
00:24felt like that. Don't call me a better name, and I felt like this, like that on Bones and all,
00:27too.
00:30Well, I, I, I, I, I, thank you. I think that the most important thing for a director is always
00:38to let the actors feel, the partners in the filming, the performers feel completely safe and ready to go in
00:47very extreme places, but almost like as if that's a game, we're playing with toys.
00:55I think we challenge one another, and then we find the balance in making it as fun as possible, but
01:04also as committed as possible.
01:07I don't know, like, I think the first time I made a movie was many, many years ago, and I
01:12thought, like, I gave myself a sort of a program on how to talk to actors, and it was a
01:17disaster, of course, because you can't talk to actors in one way.
01:21You have to listen to actors, that's the most important thing. You have to listen in general, but you have
01:26to listen to your performers, and then when in listening, you then understand the voice of each, and the way
01:32in which this voice needs to be out.
01:39I think that the 80s were very conformist time, I remember, everybody had to have the same clothing, conformed to
01:48the same way of thinking and being, success was the paramount.
01:51Somehow, right now, anti-conformism has become the new conformist. You have to be, like, presenting yourself with a sort
02:03of individuality that is, like, susceptible of not being in agreement with another individuality.
02:14You know, it's, but the problem is that it's the majority. As Jean Marot said once, I always am with
02:22the minority. Because the majority is usually wrong.
02:27Yeah.
02:28Not, like, not yesterday. They did a good job in America.
02:32In America, man, that was such a good answer. Damn.
02:36You want to add something?
02:37No, I love, man, I just want to cherish that and just think about what Lydia said for the next
02:42four months. I mean, I mean, I love, man, I hope they, I hope you let that exist in the
02:53English that he, oh no, did you say that?
02:54Yeah, you said that.
02:55I would not have people to understand if you said it in Italian.
02:57So, I think that, I would say for Lee and Marin, specific to the movie, they're dying to be judged.
03:02You know, I think they don't have any eyes on them in some ways.
03:06And not literally for their cannibalistic conditions, but I think that for their humanity, they want to know who they
03:11are. And they don't have that mirror. They don't have that community.
03:17But, as it relates to today, I love what Lucas said, man. Damn.
03:25I think Elio is like, he's like a sort of like savior and he's a sponge and he wants to
03:38absorb the knowledge. And he kind of is in total contact and listening to his own desires and his body
03:48and mind were, were, were.
03:51Lee and Marin are lost. Elio is not lost at all. Even if he's lost at the end a little
03:59bit because he's in pain, he's understanding while he's in pain, how to get more about himself through this pain.
04:09Elio is a very wise character.
04:11Pretty wise.
04:11Person, actually. I think Elio exists someplace.
04:14Yeah.
04:15In a parallel.
04:16Yeah.
04:17I love Elio very, very.
04:19Everybody wants Elio.
04:22You know, he's very wise.
04:25These characters are less wise and more like, like children.
04:30Very, very.
04:31Like Elio is an old soul in a young body and he's like a driving force.
04:36And these guys are like children lost.
04:38and they're like ones.
04:39Yeah.
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