00:00Hi Charlotte, welcome to Rome.
00:02Thank you.
00:03How are you?
00:04I'm great, I'm very happy to be here.
00:07Rome is one of my favorite places, if not my favorite place in the world.
00:11Does this movie represent you?
00:16It represents a long journey.
00:19It's been seven years in the making.
00:23And it represents a process of reflection.
00:28And ultimately, though it is fiction, it represents, I think, some part of my relationship with my dad.
00:40And the love that there was in that relationship.
00:47Charlotte, memory is an act of continuous reinvention.
00:52Is reinventing it enough to overcome pain?
00:59I think, does reinventing it overcome pain?
01:08I think it brings other things to the front and it pushes pain further back.
01:17I think that the strength of feeling in this relationship specifically, the warmth, the intimacy, the love, the playfulness.
01:28I think reinventing and reimagining and revisiting can bring that to the front in a certain way.
01:39How did you create this strong connection between Paul Mezcal and Frankie Corio?
01:47We had two weeks before we began shooting and I was able to spend an hour or two with them
01:55every morning.
01:56But otherwise, I was engaged in the other aspects of prep and they spent those two weeks on holiday together.
02:05Frankie's family was very generous with themselves and their time and Frankie and Paul became a part of that family
02:12in those two weeks.
02:14With this movie, you make everyone cry. What do you think about it?
02:21I'm focused less on that than I am on what that represents, which is people connecting meaningfully with the feeling
02:28of the film.
02:29And there is space in the film for people to bring their own experiences and to fill the gaps with
02:38themselves and I think that means a lot to me that people have been able to do that and have
02:45been able to access the feeling that the film represents.
02:49How do you keep the memories and do you often find yourself afraid that they may vanish?
02:58Yeah, and they do. And memories are so ephemeral and impressionistic and at a certain point I think it's hard
03:08to remember whether you still hold the memory itself or just the memory of accessing the memory.
03:16I think they tend to overwrite, especially if you return to places.
03:24I think location is essential in some way of preserving memory and it was something I was worried about in
03:31this film.
03:33Yeah, I was just going to finish by saying I think I was worried in the making of this film
03:38that I would overwrite memories in a certain way.
03:41The film is fiction, but my memories formed its outline and I was careful or I tried to be about
03:48preserving certain things for myself.
03:51What is the beauty of your opinion?
03:56I think the beauty is in Paul and Frankie's performance and in the relationship that they managed to portray.
04:02They are not family but they have a real connection and a real bond and I think that in spite
04:11of what I think are many gorgeous images in the film and all of the elements that create it, the
04:20sound, the picture, I think the beauty is in what the two of them created in their performance and we
04:28captured on screen.
04:29Through this movie, did you discover a new aspect of your relationship with your father?
04:41That's a tough question.
04:46I don't think so.
04:48So I think I just one thing that we were very clear about in the shooting of this film was
04:56not letting the melancholy of it overtake the joy.
04:59And so it was nice to just reflect on the playfulness.
05:05Thank you for your time and for this movie.
05:08Thank you, grazie.
05:09Thank you.
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