00:11Madea es una parte María Callas has already made her own in the Opera House
00:15pero en el filme, ella no va a cantar.
00:17No hay arias de la operación de Cherubina.
00:21Director Pasolini explica.
00:24I didn't want to make a film of the opera
00:26because I'm neither an opera fan nor an addict of music.
00:29Anyhow, I don't have that kind of sensitivity.
00:32Why then cast María Callas?
00:34For the same reasons that I chose Anatolia as a location.
00:38Callas' face and this area have much in common.
00:41Both are timeless, archaic, mythical and mysterious.
00:48She is a semi-goddess and has put all her beliefs in a man,
00:54came back down from her altar
00:56and goes through all these experiences
01:01between goddess, woman, having children and having lost everything
01:05and trying to survive.
01:09She's a woman.
01:13With all the experiences of a woman, even more so, everything is bigger.
01:20Bigger sacrifice, everything is bigger, the scenery is bigger.
01:24But the hurt is just there, just the same as any other woman, even more so.
01:30So I find the same problems of today's life
01:33in a bigger schedule because she was a bigger woman.
01:36It was mythology.
01:37It was, well, I don't know how to say these things.
01:42You can't very well put them into words.
01:44I hope, I hope I can portray it in the film.
01:51Callas' still beautiful.
01:53Hindsight can be cruel and ironic.
01:56She could have been describing her own future.
01:58She could have been describing her own future.
02:30She couldn't do anything.
02:36¡Gracias!
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