- 3 anni fa
Il regista Francis Lawrence torna nel mondo di Hunger Games dopo dieci anni e ci dice come sono cambiati i giovani secondo lui.
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00:01Un'ottima, bellissima!
00:03Sì, è quella con cui hanno riportato tutte le musica con.
00:30Um, well, I mean, you know,
00:34you can think of different things. I don't want to,
00:36I don't want to give a spoiler because I think that, you know,
00:38the truth is philosophically they were created, you know, for,
00:43for many reasons, which get revealed in the movie and the story.
00:46And I think Dr. Gall, who's played by Viola Davis, um, you know,
00:50gets, I think the correct answer out of Coriolanus snow at the,
00:54at the end of the movie where he realizes philosophically, um,
00:59the reasons, the reasons for the games, but, you know,
01:01I don't want to spoil that because it's one of the final moments of the movie.
01:04Um, where I think,
01:05and where the sort of philosophy behind him as a,
01:09as a, as a human being and as a character is revealed.
01:13Thinking about him, we,
01:14we are used to hate him because he's the villain of the trilogy,
01:20but here we, we have the chance to know him better.
01:23Uh, so in your opinion, what makes a villain?
01:27Um, you know,
01:28it's interesting because I think villains often it's a,
01:33that's a good question.
01:34So a villain often I think is somebody who's doing things right.
01:37That we in general is humans don't really agree with and may see as evil or
01:43wrong. Um, this is very general, but the truth is, is villains, um,
01:49at least the villains in my movies,
01:50never think that they're actually being evil.
01:53They're not being evil for evil's sake.
01:54They actually have philosophies and beliefs, um,
01:58that they stand behind and they're doing what they think is right.
02:01And that's certainly what we did with Donald Sutherland, right?
02:04Is that Donald and I,
02:05when working together,
02:05never judged the character and Donald, you know,
02:08went at it as if he was the hero of his own story.
02:11And he was doing the things he was doing because he thought that's what the
02:14world needed.
02:15what makes him a villain is that we as an,
02:19as an audience look at it and go, Oh my God,
02:21how can you think that's the right way of doing things? Right.
02:23It's so wrong and it's so dark.
02:25And I think that that's kind of the quality that makes the best villains,
02:29right?
02:30That they sort of believe they're right and believe they're doing good.
02:33And we,
02:33as an audience see that as entirely wrong and really dark.
02:39I love Peter Dinklage's character.
02:41and he says a really interesting thing in this movie.
02:44He says that snow has to make those children not survivors,
02:53but spectacles.
02:54They have to perform for the cameras,
02:57which I think it's a really interesting point of view on the new generation.
03:04So in European,
03:06how important is this precise line?
03:08Are we all performing in this era?
03:13Yeah.
03:14Well,
03:14I mean,
03:14I think I do think,
03:16unfortunately,
03:17a lot of people are performing.
03:18I mean,
03:18especially if you start to look at,
03:19you know,
03:20social media and things like that.
03:21And I think it's a,
03:23you know,
03:23a different sort of time for younger generations to sort of navigate through.
03:28but I think specifically for the movie,
03:31that line's important because it's,
03:32it's sort of marking a change in the way they think of the games,
03:36right?
03:36It was,
03:36I think early on,
03:37right after the war,
03:38when the games were first instated,
03:40it was just clearly randomly two people,
03:42a boy and a girl are picked from each district or thrown in fight to the
03:45death.
03:47and what they've decided to do is,
03:49is try to make them more entertaining to get people to watch,
03:53to get ratings.
03:54And I think that's the idea,
03:55right?
03:56Is to write,
03:57it doesn't matter really who survives.
03:58It's really just get people to invest in,
04:01in,
04:01in these kids as kind of characters in a story.
04:06And,
04:07and I think it just really shows the sort of disconnect of,
04:10you know,
04:10violence to the human beings that,
04:12that they really are.
04:15I love that.
04:16We,
04:16we could say that this movie is almost a musical because there are many
04:21musical numbers.
04:22Rachel Zengler is amazing.
04:24So I want to know,
04:25how did you work on the musical numbers?
04:28Well,
04:29I would say I just,
04:30you know,
04:30to be,
04:30to be clear,
04:31it's not a musical,
04:32but there are a lot of,
04:34of musical moments in the,
04:37in the movie.
04:38And I think,
04:38you know,
04:39that started with Suzanne,
04:40you know,
04:40cause Lucy Gray,
04:42who's,
04:42you know,
04:42a big character in this,
04:43film is a performer and a musician and a singer.
04:47And there's a very,
04:48you know,
04:48a moment very early on where she sort of sings this acapella piece kind of
04:52in defiance and,
04:53and in a reverence.
04:54And then there's some other performance pieces in the movie.
04:58And,
04:58you know,
04:59Suzanne,
04:59when she wrote it,
05:00had a very specific idea of the kind of sound of,
05:03of music because Lucy Gray is from district 12,
05:05which is sort of in the South near West Virginia,
05:08Appalachia.
05:09and there's a very specific kind of country bluegrass music that came out of
05:13there in the twenties and thirties.
05:14and that's really what we did was we based all the music on that sort of
05:17era,
05:18worked with this amazing producer out of Nashville named Dave Cobb,
05:21who wrote the melodies and the,
05:23the,
05:24the chord progressions.
05:25And,
05:26and so we recorded everything.
05:28And wait,
05:30when she was cast,
05:30sort of got,
05:32got into the role and got to know the songs and then saying everything live
05:35on set.
05:36So none of it was good to the recordings.
05:39She did everything live.
05:42And I also love the set design because everything has a vintage look,
05:49fifties,
05:49sixties.
05:50So how did you work on,
05:51on,
05:52on set design?
05:53Well,
05:54when,
05:55you know,
05:55given the opportunity that this movie takes place 64 years before the
05:58original film and story it gave us an opportunity to think of it as a
06:03period piece to the original movies and Uli Hanisch the German based
06:07production designer and I decided to sort of focus on the kind of
06:11reconstruction era specifically of Berlin after world war two as a
06:16reference.
06:16And we started looking at,
06:18you know,
06:18the wreckage and the rebuilding of old buildings,
06:21the building of new buildings,
06:23marrying that into the aesthetic of Panem that we're familiar with a little
06:27bit.
06:28And we also leaned into a little bit as the sort of forties and fifties
06:33look in terms of,
06:34you know,
06:34hair,
06:35makeup,
06:35wardrobe,
06:36props.
06:38Partially because the story and a lot of elements of the story in this
06:43world.
06:43And this comes from the book are very rudimentary,
06:45whether it's the Coliseum,
06:46whether it's the props,
06:47the technology,
06:49it's very rudimentary.
06:50And so we kind of leaned into that aesthetic a little bit.
06:53So you feel like you could see the potential of this world becoming the
06:57Panem from the other movies,
06:59but it's different because it's a period piece.
07:02I love this saga because to me is a metaphor of the old versus the new old
07:11people versus younger people.
07:13and the rebel ones often are the younger,
07:17the younger.
07:17So in your opinion,
07:20since you directed all the other movies in 10 years,
07:24how young people have changed between the first saga and this new one?
07:31Wow.
07:31You know,
07:32I,
07:32I,
07:33I don't really,
07:35that's a hard one to say.
07:36I mean,
07:36I think most of my measurement of like young people is,
07:40you know,
07:40I have two kids,
07:41two boys.
07:42One is now,
07:43you know,
07:43almost 20 and one's 18.
07:46And,
07:47you know,
07:47when the last movie came out,
07:49my younger one was 10.
07:52And so,
07:53you know,
07:53I think that,
07:54you know,
07:54they're,
07:55they're different in the sense that,
07:56you know,
07:57their communication and socialization is very different.
07:59often because of social media and,
08:02and things like that.
08:04But it's really hard because the truth is,
08:06is when I was making the other ones,
08:08I wasn't hanging out with 18 and 20,
08:1120 year olds,
08:12you know,
08:13so now I have more experience with,
08:15you know,
08:16young people now than I,
08:17than I did when,
08:18when I was making the other,
08:20the other movies.
08:21And to you,
08:23in your opinion,
08:24is it important to really have a rebel art when you are younger?
08:30or not?
08:33Sorry,
08:33is it important to what?
08:35To have a rebel heart when you are young.
08:38I mean,
08:39I think,
08:39I think it is,
08:40you know,
08:41I think what's important is to,
08:43and you just remind me of something I do think is different.
08:46I think it's important to be ready to,
08:51you know,
08:51to have that potential,
08:52because I don't think that you need to go through every moment of life
08:55thinking like a rebel,
08:57but I think there are times when,
08:59you know,
08:59you need to sort of stand up and fight for what you believe in and be
09:02passionate about it.
09:03I think that's important.
09:05Going back to the previous question,
09:06the one thing that I think is really different,
09:08and certainly from when I was younger,
09:10and a lot of this I think has to do with,
09:13with some education with it,
09:14with the way a fair amount of,
09:16of young people are educated now is they're,
09:19they're taught to think more critically as opposed to just memorizing
09:24things.
09:25And,
09:25and I think that's a fantastic idea.
09:27And that also ties into your rebel heart question,
09:29right?
09:29Which is you're taught to think,
09:31to analyze and to question and to form,
09:35you know,
09:36educated opinions as opposed to just like memorizing material.
09:40And I think that's,
09:41that's a huge change.
09:44And that I think translates well into our movie because you obviously have
09:47these young people that are navigating this world and the things that
09:50are happening and the philosophies in it and coming at it from all
09:53different sides and questioning what's going on in very different
09:57ways.
09:59Since you are a new director,
10:01it's interesting how in this movie art becomes a sort of life or death
10:08matter.
10:09So to you personally,
10:11what does it mean making art to you?
10:16You know,
10:17it's a,
10:18it's,
10:18it's a tough one because I'm not like,
10:20I,
10:20I don't make art thinking I'm going to change the world.
10:24True.
10:24Truly.
10:24I'm ideally to,
10:26you know,
10:27to entertain people.
10:29And I think,
10:30so that's first and foremost,
10:31right.
10:31As you want people to be interested and be entertained and be transported.
10:35And ideally you want them to think you want to make things that have
10:39substance and ideas and themes that people will think about and will
10:43resonate after.
10:46Right.
10:46that it's not just the sort of experience in the moment of sitting in the
10:49seat.
10:51But I know that,
10:52you know,
10:52some people are like,
10:53you know,
10:54sort of ready for change.
10:55And I think,
10:55you know,
10:55especially people that make,
10:57let's say political documentaries and things like that,
11:00that really want to sort of change the way people think.
11:03I just come at it in,
11:05in,
11:05in terms of,
11:08you know,
11:08giving people the experience that I loved when,
11:10you know,
11:11when I was a kid,
11:12which is being transported to a different world and investing in
11:14characters and investing in stories and narratives that,
11:17you know,
11:18sort of help you sort of escape real life for a few hours.
11:25And,
11:26and,
11:26um,
11:27Viola Davis character says that,
11:29um,
11:30as no as to accept what human beings are.
11:35And,
11:35and to you,
11:36did you find an answer again,
11:39directing these,
11:40these movies,
11:41um,
11:42who we are?
11:43can we understand who we are?
11:46Thanks to a movie like this one.
11:48I know you,
11:49you have said that.
11:50I think ideally,
11:51I mean,
11:51that's,
11:52that's really the,
11:53you know,
11:53the central theme of this,
11:55this story,
11:56this movie.
11:57And I think the reason why Suzanne wrote it is this idea of,
12:01right?
12:01Like,
12:02are we at our core vicious and savage or are we at our core good and
12:07therefore deserving of rights and freedoms?
12:10Ideally people at the end of the movie are thinking one way or the
12:14other.
12:15Um,
12:16you know,
12:17I,
12:17I,
12:17that's my goal is that,
12:19you know,
12:19that's the thing that sort of resonates and you obviously see sort of
12:22where snow ends up as a character,
12:24but hopefully people are sort of thinking and,
12:27and making up their own,
12:28their own minds about,
12:29uh,
12:30these ideas.
12:31Okay.
12:32Thank you so much.
12:33Thank you.
12:34Hi.
12:35Do you play guitar?
12:36Yeah.
12:37Really bad,
12:38but yeah.
12:39Yeah.
12:39Well,
12:39you have a few guitars.
12:40That's funny.
12:41I actually have the guitar that we recorded the music on here.
12:44Let me show you real quick and then we'll jump off.
12:45Okay.
12:49Amazing.
12:49Beautiful.
12:50Yeah.
12:51This is the one that they recorded all the music with.
12:54Amazing.
12:55Thank you so much.
12:56Thanks.
12:57Bye.
12:58You're hanging out.
13:04You're hanging out.
13:07Sono le cose che amiamo di più a distruggerci.
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