00:00I
00:36well the first thing i'll talk uh with you gabriel is the aspect of you know there's the
00:42aspect of drama but there's the aspect of music and rhythm is what sort of fuels it both in the
00:48both these women's lives but how you put together the film and how you directed them acting
00:53could you talk about that a little bit to me i really wanted to make a film where music was
00:58such a like a corgan that really is the represent the obsession that roxanne has for for lucia you
01:05know so every obsessive uh scene is highlighted by this like really like loud and violent uh by porgan
01:14music um and as far as acting uh like one of the key success of the performance is that they
01:22were
01:22both really invested in it you know and like they were not just doing the acting job per se you
01:28know
01:29um i remember like um you know like they there are moments where like leading of the week i would
01:33come to me and say i don't know if i would if i would say this you know so we
01:36were rewriting on set
01:38you know um i know they you know they trained a lot of set also you know so they were
01:45constantly
01:45pushing the story forward you know like and giving a lot of suggestions beside you know the the regular
01:50you know on set job you know and i think you know you you can expand on this yeah yeah
01:56lydia can you
01:57can you talk about that because i mean a lot of what she's pulled between logic and emotion
02:02back and forth um is that how you saw her how did you want to look at uh roxanne in
02:09that did you
02:09need to look at her in that way how did you have to approach her what i what i do
02:14you what i usually
02:24do for my work and uh what i suggested also very very intelligent this was her first movie and she
02:33really was so loyal to me and she really followed through a process she didn't even know because i
02:40worked with the method and i worked with the strassberg method the bats in studio method so it's a very
02:46quite deep process i used to go in
02:50you
03:22look for this need of this woman and this need of love and for rexanne i started from a point
03:33of view of deep down myself into the obsession of this woman to really to focus on the obsession of
03:43this woman so what i did was especially with ludavica and also for gabrielle gabrielle was his first movie
03:49his first future so and sometimes this is the reason i go working with very young people really to bring
03:56the experience to them the work on the actors is so important and i must say that was so helpful
04:02that
04:03me and ludavica we really did the training together we really went through you know the the deep down
04:11the character that we could build up a truthful relationship and i think this is something that
04:18comes out from the movie that we really are there we really are in that moment and we try to
04:25be in the
04:26moment yeah it feels really authentic that's what i think you're talking about an authenticity
04:32to their relationship but also to their life you know is that instinctual work on the truth of
04:39these characters we really focus on being in the truth in the in deep down there yeah they were like
04:48really like listening to each other you know like constant you know and that's improved one another you
04:54yeah yes yes yes we follow the flow of the of our characters
05:29First of all,
05:30I am proud to have worked in this film because I think they shipped and I'm proud to work
05:40about it. And I worked with Lydia, like she told. We made a lot of trainings together
05:58and one thing for me most important was the work about the animal. In fact, Lucia was inspired
06:12by squirrels. And they are, in fact, the tail of squirrels. And for me it's an important work.
06:33Yeah. And for Lucia, I worked with the emotional dependence.
06:42It's very, I think it's one of the things that really helps out so much. An actor in really
06:51ground himself into the character. I chose the horn. This was the first challenge I sent to Ludwig. I
07:00said, let's look for the animal. And I love my horn. I really love my horn like an animal of
07:08the night.
07:29I know you guys shot it last year, but you were also doing it within a bubble, you know, during
07:34COVID. But,
07:35you know, could you talk about those, because there's so many things where you're just touching
07:40the keys. Well, and so is Ludo. And there's so many of those little details that it almost
07:45plays like a silent movie at times. So it's as much about the motion, as you were talking about
07:50the animals, but it's as much about that as it is about what's said. Could you talk about that?
07:55Every movement. When you are, for me, my character, the grumble there is really a control freak. So you
08:04need to have everything under control, even the tiniest note. So even touching the instrument is a way
08:10to control, is a way to control Lucia, is a way to control my organ. You know, there is a
08:16lot of the
08:17material of the control. Wow. And the obsession, because for me, the COVID period revealed a lot of
08:27people obsessions. And I want people to make a confrontation with that. Wow. That's yeah,
08:37because I was thinking about the pull of connection versus isolation. She's very isolated,
08:42and yet she feels this connection, even if it's destructive. Yeah. Absolutely. How much destructive
08:49material came out with the, with the, with the COVID. Yeah. Yeah. Yeah. Yeah. We wrote this because
08:55we were like, uh, we all experienced this fear of like touching each other, you know, in this period
09:00of time, you know, that was like kind of like the first part to like this story. And that's what
09:04I feel
09:04like everyone felt the need to talk to, to talk about when they read the script. Yeah. Uh, Ludo, can
09:12you talk
09:12about that, about motion and you know, the aspect that she touches and that's how she, she sort of
09:18feels her way through the entire film. Like she wants to touch the organ and yet she's told not.
09:45I have to go on set. It was a big pleasure to be with you just for a second, but
09:51I need to go.
09:51Don't worry. You're fantastic. You're rocking it, Lidia. Thank you, Lidia. Have a great one. Yeah.
09:56Bye everybody. Bye. Bye.
10:01She was guided by, um, curiosity. And so everything she, she, she did and, um, she tried to, to do,
10:12uh, was, uh,
10:15appunto governato dalla, dalla curiosità . E quindi anche il personaggio, anche l'animale è stato fondamentale in questo.
10:24Yeah. It's so, it's so like every, everything is guided by her curiosity, you know, like, uh,
10:28even, uh, and that's where the animal came in because, you know, like, especially a squirrel is
10:33like, you know, you see in the, like, you're like, he's always curious, you know, like, but, you know,
10:37it's just waiting for the perfect moment. You know, I think, I think that's really ruled everything
10:42about Lucia. Yes. I felt like a squirrel, uh, uh, scaventato. Oh yeah. Yeah. You know, like, um,
10:51Oh my God. How do you say that? To help you guys feel it out, to help the actors feel
10:56it out.
10:56How did that sort of work? Uh, Gabriel, could you talk about that? And then Ludo? Sure, man.
11:01It's almost like it's, you know, moving. Thank you for the question, man. Uh, that's a great one. Um,
11:08so we had music on set. Uh, most of the pieces are classical, uh, dance in sequence. We played it,
11:15um, every time that Lucia was playing the organ, we had to play those, you know, because, um,
11:22we didn't have much time to like, you know, like study in detail the music. Plus they are super
11:26complex. Uh, but actually Lucia managed to like, you know, learn some of the pieces, like,
11:32uh, especially Wagner pieces. Uh, most of the time when you see her hands, it's her playing,
11:37you know, um, of course there are some parts that are like, it's too complex, you know, and we have
11:43to help her out on the, in the editing. But I remember like the beginning, for example, from the,
11:48from the murder scene, the Parsifal, that's, that's actually the, the recording that we got on set
11:53and Lucia is playing, you know, so music had to be there, you know, like I remember the, the,
11:59for example, the murder sequence, uh, we had to play the entire seven minute song and we recorded Lucia,
12:06you know, like playing, you know, and sometimes, you know, trying to like be in sync. And then we imposed,
12:11we matched the scene.
12:13Yeah.
12:17Yeah.
12:23Yeah.
12:31Yeah.
12:34Yeah.
12:36Yeah.
12:37Yeah.
12:37Yeah.
12:41Yeah.
12:44Yeah.
12:46Right.
12:46Yeah.
12:47Yeah.
12:47Yeah.
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