00:00Music
00:05Music
00:06Music
00:08Music
00:36It was the most important thing
00:38in the scene because music talks for Lucia.
00:46Was it hard doing, you know, especially in your first acting gig?
00:51It was important the contact tie.
00:56And we see each other, we feel each other.
01:01And yes, it was like we were playing together during the film.
01:11And she helped me a lot.
01:15One of the beautiful moments that I always will take with me on set,
01:20it was when we were doing the Bolero sequence.
01:24They had to play the music, the orchestral,
01:29because we didn't have the arrangement back then.
01:31But they played the orchestral version of Bolero.
01:34And, you know, they were dancing over it, you know,
01:37and they danced for like the whole, you know, 14 minutes of that crescendo
01:43just to get, just to feel each other, you know,
01:45and they would start screaming to each other.
01:47At first they were gentle, then like they were screaming,
01:48you know, like there was this, you know,
01:51it was really them getting to like, you know, getting in sync,
01:54you know, like emotionally.
01:55And then once they were there, we roll the camera.
02:33And it's, it's funny because while they were doing this,
02:36we are so scared because you know that when the music is going to finish,
02:39we need to be prepared.
02:41So Jessica was like, Oh my God, I need to hurry up.
02:43The lights, the lights.
02:45Yeah.
02:47That will always take it with me.
02:50Well, but, but see, that's a great way to get to that.
02:52I mean, because there's certain moments, obviously,
02:55that's that are reflective of Kubrick, the director, Stanley Kubrick,
02:59but it's also, well, because the way, because of the way the edit works,
03:04the way he used classical music, but in what you're talking about,
03:08you use the music to get to a certain point.
03:10It's funny.
03:11We bring that up because I know I study him a lot and yeah,
03:16I know that he does that.
03:18And I, it's weird.
03:19I never think I've never thought about that while I was shooting,
03:22but yeah.
03:23Yeah.
03:24No, but it was, well, cause you're using very specific location.
03:28And they gave us this giant Oregon that is from the 1700,
03:32the one that you see in the movie, the, the, the inside one.
03:36That's, that's all original.
03:37And like, it works, you know, like you, you can, if you plug it, you know,
03:41it will play, you know, but yeah, they did help so much.
03:46But getting back to your question about the claustrophobic.
03:50Like I always feel that like the,
03:53all the movies that I really love are the ones that have like a small world.
03:58And they really explore the worlds, like in every possibility they can,
04:03you know, I think, you know, I'm really fond of those movies that like they,
04:07they, it's almost like, you know, they, they cut their legs off, you know,
04:12and they need to find more interesting ways, you know, to tell a story.
04:16You know what I mean?
04:17Like instead of having like a huge budget,
04:19like all the scenes that I want to like all the extras, let's cut that off.
04:23You know, let's work with like few things and let's really try to make the best out of them.
04:27You know?
04:28So for this movie, I was trying to do that.
04:31You know, like I was trying to, for myself as a director,
04:34I was trying to like put myself in that situation and say, okay,
04:37you need to, you need to improve.
04:39Like, it's not, you know, this is not working, you know, like,
04:41I think it will expect.
04:43And that's where Italy, the co-writer came in.
04:46We were both really like meticulous about what to put on screen.
04:50And is it interesting enough, you know, like, and does this move the story forward?
04:54You know, like, so that pushed us a lot.
04:56Yeah, I mean, the editing actually, it's, it was actually the easiest part.
05:01Of course, we had like many edits.
05:03Okay. But like the structure, it was really defined by the writing, you know?
05:08Yeah, I felt like when I was editing it, I was really getting back to like the storyboards
05:13and the script itself. It was, it was all there, I feel like.
05:17And yeah, there are very few scenes that we discovered, you know, in the editing process.
05:26I told you, you'll never, never touch my thing without.
05:30No!
05:31Stop! Stop!
05:32No!
05:33Stop it!
05:35Ankling this mess.
05:37I don't want to hear another song from you tonight.
05:39Is it clear?
05:44Stop it!
05:47But we were talking a little about, about Primal, you know, and this character, this girl.
05:53Could you talk about what you found, what you glommed onto that you liked about her?
05:58Or what was her truth, per se, that you liked?
06:02The back story of Lucia, obviously.
06:08With Gabriele, we talked about it, we said that Lucia is always fascinated by the organ and
06:16she loves the organ and wants to learn to play.
06:22And so, the fact of being in a church and being in a church and being able to learn from
06:29an
06:30teacher is a very exciting thing for her.
06:34It's what she wants.
06:36And really, even though, I found myself in front of the organ,
06:40the wheels, I really found that curiosity.
06:45In the scene in which I find the camera and touch that giant wheel, I'm really attracted
06:52and fascinated by it.
06:54I was asking Lydia about the details that really let her connect.
06:57You know, and when she's looking at, like, pictures that you've drawn, like the drawing
07:01she does, there are so many little things.
07:03What details did you pick out of?
07:06I used...
07:08Sicuramente il lavoro sui sensi mi ha aiutato molto, quindi anche cercare proprio di trovare
07:16un contatto sensoriale con il tatto degli oggetti.
07:21I tried to discover, in reality, the things, the materials, the sensations that the material gives me.
07:39Stop!
07:41Stop!
07:43Stop!
07:45Stop!
07:47Stop it!
07:49Stop it!
07:50Don't touch it!
08:03Don't touch it!
08:05we're talking about beauty versus the um the illusion of beauty there's so many different
08:11things going on here well again like the the obsession is at the top right so that's like
08:16oh that's that's what i started for um but yeah did that come from a specific reason was it
08:23influenced by the music was it influenced by what was going on i mean the man the organ the organ
08:30world and like the organ sound is the most obsessive thing that i ever heard you know uh it's to
08:37me
08:37that's that is obsession and like i feel like um yeah those heavy yeah exactly you know there's
08:45there's a sound to it and that is really like drag you know like i met a lot of organists
08:49and they all
08:49tell me like you feel the vibration you know like they're all about like feel the vibration of this
08:53instrument you know i'm like i of course like i'm a little like skeptical about it uh you know but
09:00i feel that like once you myself too i feel like once you enter the world it kind of like
09:06sets you
09:06up you know and you gotta be careful because you really lose connection to reality
09:12you
09:34a lot of the organists they are like great people but you know they become so obsessed about this
09:38organ uh the you know like the the inspiration for roxanne came from a real organist that we met
09:45during the pandemic and he lives inside pipe organs he doesn't have a house uh and he goes from church
09:50to church to repair them you know that's like how crazy is that you know um so like you see
09:57to me i really
09:58wanted to make sure that that was like the main uh focus you know um and this theme of like
10:04you
10:04know like not touching you know like this this is really what is important to me to come across like
10:09i really wanted the fear of touching to be you know there to be there you know like i feel
10:15like
10:16i think that helps like my climactic scene where like roxanne gets what she wants let's say you know
10:22yeah but there's still the sphere is present you know like it's everywhere you know every time is
10:27like present um so that's i think i would want to focus on that there are many themes that like
10:33connected to like the you know the different age of the women you know like but there are so many
10:36things that are tackled on you know like the the bolero the fact that like the piece itself it's a
10:42crescendo and a repetition of one theme 40 minutes of a crescendo where like the instruments build up but
10:47the theme stays the same you know that represents the movie you know like it's like we we try to
10:53do
10:53that this custom raise up of tension you know like that's why we call it the grumble era you know
10:58because it is at the end that movie it is that music you know like it's so connected and um
11:05like to me i
11:06i wanted that to be like the main focus you know all the other themes they're tackled here and there
11:11you know like i'm the story there's the covid aspect you know like it's there are many things you
11:16you know but they're really all you know swimming around this like giant obsession theme
11:21so
11:26so
11:31so
11:37so
11:44so
11:46so
11:48so
11:49so
11:51so
11:52so
11:53so
11:53so
11:53so
11:53so
11:53so
11:53so
11:55so
11:55so
11:55so
11:55so
11:55so
11:55so
11:55so
11:56so
11:56so
11:56so
11:56so
11:56so
11:56so
11:57so
11:57so
11:57so
11:57so
11:57so
11:59so
11:59so
11:59so
11:59so
11:59so
11:59so
11:59so
11:59so
12:00so
12:00so
12:00so
12:00so
12:00so
12:00so
12:00so
12:00so
12:00so
12:00so
12:00so
12:00so
12:00so
12:00so
12:01so
12:01so
12:01so
12:01so
12:01so
12:01so
12:01so
12:01so
12:01so
12:03so
12:03so
12:03so
12:03so
12:03so
12:03so
12:03so
12:04so
12:04so
12:05so
12:05so
12:05so
12:05so
12:05so
12:05so
12:06so
12:06so
Comments