00:05benvenuti a 16 noni con noi alejandro amenabar il film di oggi è il prigioniero nel 1575 il
00:14giovane soldato spagnolo miguel de cervantes viene catturato dai corsari ottomani e rinchiuso
00:19nelle prigioni di algeri in attesa di un riscatto che potrebbe non arrivare mai per resistere alla
00:25disperazione trova rifugio nella forza delle storie conquistando l'attenzione dei compagni
00:30di prigionia e dello stesso asan il potente bei della città tra speranza amicizia e desiderio
00:36di libertà prende forma un rischioso piano di fuga che metterà alla prova il destino di entrambi
00:41cervantes è uno degli autori più importanti al mondo non si può prescindere dal don quixote
00:46eppure tu lo ritrai in una veste nuova come mai hai sentito l'esigenza di raccontare al cinema
00:52il giovane cervantes e qual è il confine tra documentazione storica e finzione cinematografica
00:59and well first i will have to say that there is almost no fiction about cervantes there is only one
01:07movie the late sixties and one mini series television series in the eighties and there is nothing else so
01:15one of the things that struck me the most when i started researching about him was that there was
01:20almost no fiction about him and then i decided to focus in this particular period of life period
01:26of time in his life because um it's like um trying to understand the genius who still
01:36doesn't know that he is gonna be and for me that made that made it the project more interesting i
01:43wanted to focus on the human being i wanted to get to know uh the guy who was going to
01:49become one of
01:50the most important writers in time so my approach was always very very humane and in this case we
01:58we have something that is a captive that he's not even a writer yet and um and that for me
02:04of course
02:04made it more vulnerable and more fragile and um my approach when i do movies based or inspired in
02:13true events i i let's say that i work in four levels or distinguish four levels the the facts
02:22and the probable the improbable and the impossible and of course you can play with impossible when you
02:29are playing with historical facts facts you can invent things when tarantino for instance sometimes has
02:36based part of his movies in historical facts but then he totally we change or changes the uh the ending
02:44and in my case i i like in particularly in this project because it was based in in such an
02:50important
02:52writer i want to i wanted to move between the probable and the proofed facts
02:59it's a film in cui racconti sono fondamentali le storie e il modo in cui si raccontano possono salvare
03:06la vita e rendere liberi la narrazione è una via di fuga dalla realtà per cervantes così come oggi
03:13yes i think i think fiction the power of imagination is is very important in order to travel to somewhere
03:23else i used to say
03:25when i when i did my movie mara dentro i remember that for me at that time i thought movies
03:31are like
03:32a journey and not only as a viewer but as a creator it take me to another place not only
03:38a physical place
03:39but to a most to an emotional place in the case of the captive when you think of someone who
03:46is held
03:46captive in in in that courtyard i can i can imagine how he was trying to escape and just maybe
03:58just
03:58to entertain himself by by reading and by telling stories and it's something that of course it happens
04:05to me for me movie making or movies in general is not only a way to learn but a way
04:13to to go
04:15to somewhere i mean in order not to get bored
04:19qual è stata la caratteristica di alessandro borghi che ti ha conquistato di più prima del set e
04:24quando lo hai diretto well i i i saw him in previous work and i mean he's he's brilliant that's
04:31the only
04:32thing that i can say about him he's just a genius of performance and i was so fortunate sometimes it
04:38really
04:38happens that miracle that you send the script and a couple of days afterwards you receive
04:43uh the response and is a positive response and in this case he was really um engaged in the project
04:51from the very beginning he insisted on on performing his character in in spanish i offered him to read in
05:01italian because uh those real encounters that took place between cervantes and and hasan baja presumably
05:09took place in in it in italian since cervantes had been living in italy for a few years but he
05:16said no
05:17let's try to do it in spanish site is a guy who loves challenge per la libertà a volte si
05:24rischia di morire
05:25l'uomo secondo te è più portato a perseguire la libertà anche se rischia la morte o a difendere la
05:32vita
05:32anche se significa essere un prigioniero that's a good question but i don't know if i'm prepared to answer
05:39that in in in my movies that's something that that that that it's been and the the the movies are
05:49talking
05:50about for instance in agora and rachel vice's character ipatia uh is questioned for her beliefs
06:00for her research and she prefers uh to die and in my next picture the one that i did afterwards
06:09while
06:09at war which was also based on real events miguel de unamuno at some point was risking his life and
06:16was
06:16willing to lose it but uh preferred to uh stand up and communicate his principles so there is a
06:26moment in those characters when i guess that they prefer the risk of of dying uh instead of losing
06:34their freedom si parla di amore in tante forme se non c'è amore in questo mondo che cosa rimane
06:41well
06:42and um it's in it's it's it's funny because when alessandro borghi explains uh or answers that
06:49question to cervantes and he starts talking about the little um details in in life's things that
06:58he is happy with um apart from not having let's say romantical love romantic love and i said i
07:09remember i said to alessandro please make sure that the audience understand what you are saying
07:15because what i wrote down there is really how i feel about this and no problem because i feel the
07:20same so he did it with all his uh his passion le religioni nel film sembra non siano raccontate
07:27come salvifiche o spirituali ma come pretesto di privazione della libertà è così um well you know
07:35now there's a very interesting movie in spain called los domingos about uh a girl who wants to
07:42become a nun and her aunt is totally opposed to it that's the story about and it's a story about
07:50accepting when someone wants something that you don't you don't like now we have the singer rosalia
07:56who is uh let's say is uh uh uh come up as a believer in and and and her her
08:05cues her songs are talking
08:06about her faith as well in my case i was a raised catholic i was studying for many years in
08:14a catholic
08:15school so i know all the all the references and all the all the stuff but um the truth is
08:23that i
08:24i i detach from from faith very soon and i look for spirituality and the soul of people in
08:34um some other aspects for instance uh for me science which was what took me to develop a project
08:43like agora the interest in astronomy the discussions that were taking place at the beginning of the
08:49century 20th century 20th century between um and Einstein you know Einstein and and his colleagues
08:55talking about um um quantum mechanics those things for me are quite spiritual and and then
09:04i try to find it in in the in the human details i always like to think in terms of
09:11of um human kindness
09:13and and what i found in religion i'm sorry for saying this but i many many times what i found
09:20is
09:20intolerance i found violence things that that not are that are not happy from a relational point of view
09:34l'ambientazione è molto suggestiva quanto è stato complesso ricreare quel luogo e quell'atmosfera
09:40scenograficamente e fotograficamente the there is a very clear description of life in algiers in those times
09:52and antonio de sosa who is one of the characters in the movie he really took note of everything that
10:00was going on in
10:02in those times so we tried to really stick to his writings and all the descriptions he does about these
10:12uh garçons
10:13who were um the um the corsairs boyfriends uh parading in the streets those were amazing scenes
10:24that made me think of a gay parade nowadays not something that you could you could imagine in those
10:30times and i can see how someone a christian like cervantes coming from castilla the moment he stepped
10:39on those streets and found that it must have been really really shocking so we tried to portray that
10:45amazement by cervantes and made sure that we were very close to the descriptions the interesting thing
10:51is that some uh journalists or people who've seen the movie think that the portray that do we do of
10:57algiers is very anachronic but it's the truth is that it's not anachronic in those times that was
11:03really what was going on in the streets in those times c'è qualcosa che non ti ho chiesto che
11:08vuoi dire
11:09al pubblico italiano i would say that uh considering the real hassan baha the character um was from venice
11:17of course we decided to uh cast um an italian actor and i was so fortunate for having alessandro borghi
11:25um and then costume designer co-producer so this experience uh made us relieve someone that is uh
11:33shown also in the movie and it's uh different cultures working together so i hope people here in
11:39italian will will like the film the film as much as we like making it they will like because i
11:44love it
11:45thank you very much thank you
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