00:00All pie is good pie
00:07Ogni operazione sotto copertura è una performance. La cosa è seria. Ogni arresto una standing ovation.
00:13First of all, how's the pie?
00:17How's the pie?
00:19All pie is good pie
00:22You are known for being the director of the truth of the real world, but this story is a somewhat
00:30true story.
00:32Do you believe there's more truth in what you have done previously or in a somewhat true story?
00:38When it comes to cinematic storytelling, I'm okay with a foundation of truth that becomes, you know, a flight of
00:46fancy.
00:47That's what most of my films are. You know, I met a girl once, years ago, and we walked around
00:51a town all night.
00:53That was the foundation of truth, but it became a movie before sunrise, you know what I mean?
00:57So, it's okay. I think you want to be entertaining and tell a story that's compelling.
01:04I don't know.
01:06And this film, Hitman, is kind of questioning what truth is anyway.
01:10You know, it feels kind of an unstable proposition these days. You know, identity, truth.
01:17So, in a kind of comic way, it's sort of taking on these notions maybe.
01:23Speaking about the movie, the main character says, become the fantasy.
01:29And it really is. His personality changes when he changes character.
01:36Have you ever been influenced by a movie that you were directing? Maybe you changed in that period of time?
01:43Me?
01:44Yeah.
01:45Does a movie change you? No, I don't think so.
01:48I don't know. I'm always wondering about this. Like, what changes you? I think it adds a lot to your
01:53life.
01:54It's maybe cathartic. You get something. You exercise out of your system.
02:00Something you've been trying to do, and maybe you mature or feel better.
02:05But I don't know. Change is a big word. I don't know. I don't think we appear to change.
02:10We feel like we change internally, but no one seems to notice. They think you're the same person. So, it's
02:17still worth trying.
02:18There's a line in the movie about change, and the main character doesn't believe that we are capable of change.
02:24But he changes. Or in your opinion, he was always like that in some way.
02:30Yeah, I think he does change for the better. He becomes an example of his own thesis in a good
02:40way.
02:40Again, darkly comedic. You know, there's two dead bodies. But for him to be happy and fulfilled in his, you
02:48know, destiny with her.
02:51So, but yeah, the whole film is a contemplation of that. He tells his class, you know, pick the identity
02:57you want and be it with passion.
03:00You know, that's, I like the notion of empowered people making decisions.
03:05You know, what I'm more afraid of in the world is passive people just accepting misinformation and fictions coming at
03:14them.
03:14You know, I think we need a more discerning, conscious public making decisions based on some kind of truth or
03:23what works for most people. So, I don't know.
03:26The main character is really interested in human behavior and consciousness. And I think that is something that you are
03:36really interested in too.
03:37But why cinema in your case? Why aren't you a psychologist or a novelist?
03:43Yeah, I ask myself that all the time. Like, why did cinema choose? Why am I, like, I might have
03:49been, I could have exercised this area.
03:52But I wasn't quite academic enough and I wasn't quite all these things. I didn't have the brain of a
03:58scientist even though I'm interested in so many things.
04:02Cinema worked for me because it was an amalgamation of things I was interested in, plus all the technical, you
04:08know, photography, writing. It was the creative arts meets things I'm interested in.
04:13It became my forum to, you know, explore ideas.
04:22Each time I see the trilogy or Boyhood, I think about a line in Clockwork Orange, Sally Kubrick, when Alex
04:31DeLarge says that the colors of the real world become real only when we see them on the screen.
04:37And is it true for you? Is your entire career based on that line?
04:44Maybe so. I think a lot of filmmakers have that personality that anything Bergman talked about it, Fassbender talked about
04:51it.
04:52And I know other filmmakers, like, it's like seeing the world through a window. Like anything that's happening to me,
04:58I'm like, I have to express it in a story on a screen for it to then become real.
05:04Like this isn't real. That's real. You know, and I feel that way about like life. Yeah, you can lie
05:11and manipulate life and make it work for you, but you can't lie in cinema.
05:15Like that's where you put all your best and that's not necessarily a good quality as a human being.
05:20And a lot of like children of artists or actors say, oh, the best of them went into their art
05:28not being a good parent or being, you know, so that's a, it's not a necessarily a good thing for
05:34an all-rounded person.
05:36But, you know, we are who we are. I think being conscious of it is maybe the best thing you
05:40can be.
05:41I love one line in this movie. I think that it could be material for really a self-help book
05:49or at least a t-shirt.
05:51Okay.
05:51When they say find someone fucked up in a way you like.
05:54Yeah, fucked up, you know, yeah, fucked up in a way you, that works with you.
05:58Do you really believe in this line?
05:59I've been trying to get that line in a movie for a long time. I think I heard that or
06:03read it a long time ago.
06:05So I've been looking for the right moment to get that because I do kind of believe that having been
06:10in relationships and like, okay, why isn't this?
06:14It's like, okay, if you, you know, it's hard to negotiate that space between people, like what makes something work.
06:23And you really do have to accept the worst qualities of your loved ones.
06:28That's what you have to do to be happier, stress-free in life.
06:33If you spend your life trying to change everyone around you, you're condemned to your own hell of, you know,
06:39you'll never be satisfied.
06:40So, I don't know. I'm pretty accepting of people, I think. I wish they were accepting of me.
06:48And I know that everybody is asking about that, but you've said that you are maybe thinking about a fourth
06:56chapter of the trilogy.
06:58And I think that they will be grandparents, maybe.
07:03Oh, right.
07:03Yeah. What is their...
07:05They're in their fifties now. So, yeah, who knows?
07:08Yeah. What do you, do you believe that it could be important to say about that stage of life when
07:15you are a young children?
07:17Yeah. I think every stage of life is important and worth examining via cinema.
07:24I just know in the last film of that, before midnight, we found out, oh, it's harder to...
07:31It's just like, it was a nice metaphor for life. It's just harder to be older to be as romantic
07:37or as to be, you know...
07:38Even if you had gotten everything you wanted in life, there's still something a little harder about making it feel,
07:47you know, compelling or sexy or romantic.
07:51Or that's what we had to make that film about.
07:54So, getting older, I don't know. I like to think, I meet a lot of really happy, older people.
08:01And I just think they've run the course and kind of won and they're on some kind of victory lap.
08:05I don't know what age that kicks in. I would like to bring it in as soon as possible to
08:10just feel kind of like, oh.
08:13But I meet a lot of happy, older people. So maybe we'll meet Jesse and Selina in less conflicted, happy
08:18times.
08:18But then that's not very compelling cinema. You need some kind of... But we'll make it compelling.
08:24But we'll have to get there. We're not there yet.
08:26And then you can start again with their grandchildren.
08:29Yeah, they can have their own. And then I'll hand the whole thing off to my children and grandchildren.
08:35Like, okay, take this and roll with it. No, I don't know.
08:38It's easy to say that we love your cinema because your cinema is amazing. It's first class cinema.
08:45But, and my athlete name is Movie Player. We love old cinema.
08:50And we think that each genre has its own dignity and its own strength.
08:55So we would like to know what is your favorite B movie?
08:59Favorite B movie? Oh, wow. I mean, like a lot of filmmakers, I don't really classify things that way.
09:06I just... A movie is a movie is a movie. I don't... There's no hierarchy to me.
09:11But I did name my company after what's considered a top-notch B movie from the 40s.
09:18Detour by Edgar Allmer, the Austrian director who went to the U.S.
09:23And worked on Poverty Row and made a lot of cheap movies and some very good ones.
09:30So, that's one I have to give a shout-out to. But there's so many. I mean, I love genre
09:35B movies.
09:36You know, I love national cinemas of certain eras. But I don't really distinguish that.
09:42I'm kind of... You know, I love a good Italian crime film of the 70s like everybody else.
09:51Fernando de Leos. He's my guy.
09:55Thank you so much. Thank you.
10:20Thank you.
10:21Thank you.
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