00:13benvenuta miss singleton gran tour credo che sia un film anarchico anti schematico che vive
00:21attraverso le immagini e chiedo quanto è complicato essere liberi oggi al cinema
00:27è stato un po' caotico come è stato creato perché non c'è una scelta, c'erano più di tre
00:44scelte
00:45e è stato un processo molto organico e c'è un momento in cui stavamo, per esempio, editando e scrivendo
00:54il film
00:54at the same time, perché avevamo già immagini di un trip in Asia e stavamo scrivendo la storia
01:04di questo couple, Molly e Edward, in reazione delle immagini che avevamo già fatto.
01:13So, è scelta, ma in un modo, in un modo, we designed it to be lived by the viewer e
01:24so the viewer
01:26sometimes has the possibility to, you know, to give something from him and to create a continuity
01:36that we prepared for the viewer. So, even if it's, there are many kinds of different images,
01:45there's discontinuity, but it's up to the viewer to live discontinuity. So, we create chaos and we hope
01:53that the viewer can handle with chaos.
01:57In Grand Tour c'è l'incontro tra due epoche. Secondo lei oggi abbiamo smesso di dialogare con il passato?
02:07Yeah, but, you know, our present is also composed by the past. So, there's phantoms everywhere.
02:16I don't believe in these phantoms with the, you know, the sheets, white sheets and saying,
02:23woo! I don't believe in that, but I believe that there's memories everywhere, there's signs of the past.
02:33I mean, this is so impressive when someone like me just arrives from Rome and, you know, from the airport
02:40to the place where I'm staying, there's, you know, ghosts of the past everywhere.
02:50So, yes, I think, I don't know if it's these characters that live in 1918, what we shot in the
02:59studio with the actors,
03:00that are haunting the present. It's a memory of another time, of a colonial time, where Europe was, you know,
03:11had this,
03:12made these countries in Asia part of their territory. If it's that the ghosts, or maybe it's like ancient cinema,
03:25that because even in moments where we have very politically wrong systems like colonialism,
03:38we still made very, very amazing films. Maybe even more interesting than we do today.
03:48So this, like this old world, this old cinema, it keeps coming. It's here. It's here.
03:59Sometimes it's like ghosts. You don't see them. They don't exist. They are finished.
04:05But there is still an echo of a ghost of these other times of the past.
04:26You know, there was a moment in the editing I was thinking what is missing in a black and white
04:34film.
04:34And I had a very, a glimpse of a very evident thing. What's missing in a black and white film
04:42is color.
04:44So, in fact, the film was supposed to be completely in black and white.
04:48We shot on film, in film stock. And it was black and white, but there was 10% of color
05:00because of technical reasons.
05:02Because in very dark places or at night, it's impossible to capture in conditions, in good technical conditions, these places
05:14if you're just using black and white.
05:17Because it has only one kind of sensibility in the film stock.
05:21So we used color to try to, that has higher sensibility, to capture these moments, and then we would put
05:32this in black and white.
05:34But during the editing process, we were a little bit fed up with the black and white.
05:39And so, we said, okay, but we have these color shots. Let's put it on. Let's put it on.
05:48And we thought, me and the editor, that's beautiful. I mean, there's no reason to appear color, except because of
05:58technical, how we shot the film.
06:01But, so what you're asking me about being sensorial, it was the only reason why we put the color in
06:14the film.
06:15Because we were not supposed to put the color in the film.
06:18But we thought, yeah, it's very sensual.
06:22And so, maybe people will ask, but what's the meaning, why the black and white, why the color, what this
06:31means, the color moments.
06:33It doesn't mean nothing rational, it's only for our pleasure.
06:39Pleasure is something very important and a little bit ignorant in cinema.
06:44The last question, the last question, the film is full of contradictions, of contrasts.
06:49Is it in the contrast, right, that the best art is born, in your opinion?
06:53Yeah, it was, these contrasts are needed.
06:57There are some people that say, in a kind of very scientific way,
07:03and I don't think cinema is that much scientific and rational.
07:07That you need the conflict in the, you know, in the story.
07:11And I don't think that you need it in the story.
07:15Maybe you can use it, you can benefit from it.
07:20But I think that the experiences of a film is also a clash of contrasts.
07:26This theory that cinema is a little bit like batteries.
07:31So in batteries you have negative and positive, and then you have electricity.
07:37And so, yeah, sometimes you have to have, like, antagonic things.
07:42And when they start to interact, you get cinema, which is electricity in the battery.
07:52Thank you, thank you so much.
07:53And you're done with the franchise.
07:57Thank you.
08:00Please, thank you so much.
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