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Downloaded from
YTS.MX
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(film projector clicking)
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Official YIFY movies site:
YTS.MX
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(engine whining)
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(thrum of passing traffic)
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(tram car trundling)
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(bell ringing)
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(water pattering)
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When I see the first time, eight years old,
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nine years old, in the studio,
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I went to see all labs and this,
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and my father, the first time he tell me,
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"Look, come here, look in the camera."
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I look in the camera and then...
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"Yes, now move. What do you want to see?"
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I move camera.
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It even add another dimension to life.
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(emergency brake clicks)
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(door opens)
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(movie dialogue continues)
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(loud bang)
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(gunshot)
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After the war,
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there was a great sense of solidarity.
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We had a sense that we had--
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the antifascist forces had won the war together.
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That we were a united people
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and we had strength.
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And that led to a certain kind of cinema
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which was about people,
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it was about us,
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what we had in common.
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It was a sense that we were stronger as a team
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than as individuals.
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People had no money, no resources,
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and people like Visconti and Rossellini
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started to pick up the camera and shoot films
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and Carlo was a part of that moment.
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It was really an amazing moment.
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I mean, I think the Italian neorealist movement
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just--it really changed the face of cinema
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in a significant way and he was there for that.
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And those cameramen were doing
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very different things with natural light.
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They had no real resources, not a lot of lights,
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and they just went out and shot things.
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And I think that really had an effect on his style ultimately.
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(bell rings)
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I was born in '45
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and Carlo is a generation older than me.
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He was already working.
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He was...present for La Terra Trema,
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Ladri di Biciclette,
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he was camera assistant.
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Behind the camera
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and even if you did pull the focus,
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or if you're the operator, you were there
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and you were essential.
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So he lived all these movies
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that are the basis of my education,
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that's where I'm coming from, that's where I learned.
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(din of traffic)
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And that--that was in the end of '40s and the 1950s,
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maybe the beginning of the '60s
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and then there was a change in society, wasn't there?
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And the right of the individual
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and "You're not my comrade, you're my enemy
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and I have to do a deal with you to beat you."
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And the cinema again reflected that
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and became a cinema of individualism,
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a cinema of wealth, a cinema of greed,
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a cinema of violence and antagonism,
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and we lost that sense of community.
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(indistinct shouting)
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But I think things are changing now,
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because with the economic collapse throughout Europe,
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I think people are beginning to realize
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that we need each other, we can't fight each other,
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we don't struggle against each other,
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we struggle together.
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So I think maybe it's time we revive the ideas
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of the Italian neorealist cinema
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and we spread them across Europe.
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(din of traffic)
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(indistinct shouting)
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(gunfire)
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(harpsichord music)
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In that film, those kind of quick cuts,
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those kind of constant reframings that he does
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really gives the film so much energy
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and I know that that was very influential.
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I mean, Scorsese has mentioned many times
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how influential that film has been on him.
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(engine rumbling)
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(bell ringing)
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Carlo, once again, is sort of a watershed moment
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in film history.
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For many people, almost the first true color film,
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the first one where color is truly
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a kind of aesthetic element within the film
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in his work with Antonioni.
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(otherworldly singing)
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(rhythmic droning)
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(laughter)
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One thing that was good about that generation
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was that they began in monochrome,
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they saw photography in terms of shades
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rather than color.
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So that when he did come to use color,
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it had an excitement for him
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and his excitement communicated through his images, I think.
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(boat horn blows)
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I'll never forget the industrial landscapes of Red Desert.
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There's nothing quite like it in the history of cinema,
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the way those landscapes were shot.
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They're both alternately incredibly fascinating
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and beautiful and of course horrifying
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because of the pollution that they were bringing to the world.
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He just--he caught that and gave you a sense of that.
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(loud hissing)
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(water lapping)
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(otherworldly noises)
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What are you doing?
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Stop it! Stop it!
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Give me those pictures.
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You can't photograph people like that.
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Who says I can't?
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I'm only doing my job. Some people are bull fighters,
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some people are politicians.
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I'm a photographer.
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Right.
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That's good, that's good, hold that.
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Wonderful.
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I realized how important colors work was,
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especially on Blow-Up because, in many ways,
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it's, visually, a very, very inventive film.
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One of the few films at the time
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who reflected the language of cinema
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in its own story.
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It's one of the few films
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that really deal with photography
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and deal with the essence of taking a picture.
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Great.
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And again, go on. Go, go.
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Before they made Blow-Up,
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Michelangelo Antonioni told him,
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"The last film, we tried to do very three-dimensional.
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Now I really want to show great spaces between people."
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And then you see-- when you think of Blow-Up,
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that's exactly what goes on.
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I mean, it really is about people's isolation
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and whatever, so once again,
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the cinematographer found the way
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to communicate the ideas a director
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was hoping to somehow express.
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(men chanting)
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(whistle)
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(glass shattering)
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(cart wheels squeaking)
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(vocalizes, plays piano)
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(murmur of crowd)
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One day, I was speaking with Bernardo Bertolucci,
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and he said about Carlo,
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"In cinema, Vittorio Storaro is my wife
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and Carlo Di Palma my amante."
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(hum of passing traffic)
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(door slams)
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(horn honks)
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(engine rumbles)
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(gulls cawing)
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(footsteps)
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When I was ready to do my first movie,
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Take the Money and Run,
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I had seen Blow-Up
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and I thought it was a very beautiful picture
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and I said, "Who did that?" and they said "Carlo Di Palma,"
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and I went and I looked at Red Desert
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and I saw that he was such
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a strikingly beautiful color photographer.
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I mean, it was just amazing.
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I just thought since I was making a movie,
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he was the best photographer
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that I could have hired at the time.
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But unfortunately, he had another picture
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he was doing.
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In my apartment in New York,
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he came to the door
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and he was very charming and very nice
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and he spoke not bad English, not great but not bad,
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and we spoke for maybe two hours
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and talked about photography and movies.
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We both had the same taste in many things
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in terms of film and what film should look like
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and what the color should look like
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and the movement should be about.
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And then we began.
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Our first movie together was I think
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Hannah and Her Sisters.
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And Carlo lived up to all our expectation.
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You know, it did everything correctly.
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Moved the camera all the time
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in an energetic way,
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made beautiful shots,
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it was easy to work with,
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fun to work with.
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And came away with a successful picture.
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-Oh my goodness. -Oh, Elliot!
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-Hi. -What are you doing here?
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Well, I'm looking for a book store.
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-In this section? -Any time I provided Carlo
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with a pretty set, for instance,
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and designed a shot that was artistic,
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he always made it work.
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He never said, "No, I can't do that."
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"And now, and now, Carlo, and now."
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Three shot. Two shot. One shot.
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One shot. One goes up, one goes up, one goes up.
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So boring, it's TV."
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01:01:04,660 --> 01:01:06,037
Hey, Hannah, I know I'm mediocre.
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Oh, will you stop attacking Hannah?
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She's going through a really rough time right now.
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01:01:08,414 --> 01:01:10,833
Why are you so upset?
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01:01:10,917 --> 01:01:12,710
You've been picking on her ever since she came in here
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and just leave her alone for a while.
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-I'm just suffocating. -What's the matter with you?
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Why are you so sensitive all of a sudden?
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Listen, you wanna write, write. Write!
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Let's just not talk about it anymore.
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-Good! -Take a year,
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take six months, whatever you want.
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Who knows, maybe you'll be sitting with a good play.
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What's the matter?
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01:01:31,854 --> 01:01:34,065
What's the matter with you? You look pale. Are you okay?
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Yeah, I think, you know, I'm just...
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I got dizzy all of a sudden.
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01:01:37,902 --> 01:01:40,780
I have a headache. I think we need to eat.
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01:01:49,872 --> 01:01:52,708
And I think, also, when he worked with Woody Allen,
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was that he took this sense of European cinema to America.
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He avoided the overly commercial productions
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and his work was very personal-- it stayed personal
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and it stayed European.
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And I think that was one of the quotas
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he gave to Woody Allen's films,
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and Woody Allen's films are great films.
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They benefit enormously from Carlo's photography
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and Carlo's cinematic sensibility.
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But where he really could put his poetic soul to work
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was on all those special movies,
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those period movies.
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I do a lot of period pictures
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and Carlo was very, very happy when I did them
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because he didn't have to do realistic lighting,
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which he could do,
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but you don't get a chance to express the poetry
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and Carlo was essentially poetic.
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♪ I'm gonna buy a paper doll that I can call my own ♪
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I can never hear this song
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without recalling my parents' anniversary.
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01:04:31,742 --> 01:04:34,245
It was the only time I ever saw them kiss.
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It was a very wonderful memory.
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♪ Flirty, flirty guys with their flirty, flirty eyes ♪
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With Carlo, I learned about the needs
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of a really-- an artist.
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I really learned so much on Radio Days
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about how to bring light into the space.
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My most vivid memory connected with an old radio song
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I associate with the time that Aunt Bea
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and her then-boyfriend Chester
269
01:05:01,272 --> 01:05:03,524
took me into New York to the movies.
270
01:05:03,608 --> 01:05:05,276
It was the first time I'd ever seen
271
01:05:05,359 --> 01:05:06,902
the Radio City Music Hall.
272
01:05:27,798 --> 01:05:29,925
(insects chirring)
273
01:05:30,009 --> 01:05:32,303
(piano playing)
274
01:05:42,104 --> 01:05:44,857
I always remember there are many moments.
275
01:05:44,940 --> 01:05:47,401
I remember in spite of the fact that September,
276
01:05:47,485 --> 01:05:50,863
there's a scene on the porch by candlelight
277
01:05:50,946 --> 01:05:52,323
and I often say to Woody,
278
01:05:52,406 --> 01:05:55,493
"No one does-- no one lights from candles
279
01:05:55,576 --> 01:05:58,746
the way Carlo did."
280
01:05:58,829 --> 01:06:01,415
I said, "I can't believe he was a good Catholic boy."
281
01:06:01,499 --> 01:06:03,542
But I said...
282
01:06:03,626 --> 01:06:07,588
But even when he had one candle on the porch
283
01:06:07,672 --> 01:06:09,632
and the actor sitting in a rocking chair,
284
01:06:09,715 --> 01:06:12,259
it was so beautiful.
285
01:06:12,343 --> 01:06:14,303
I mean, he had a touch
286
01:06:14,387 --> 01:06:17,431
that was very beautiful and romantic
287
01:06:17,515 --> 01:06:20,267
and as I said, very spontaneous.
288
01:06:20,351 --> 01:06:23,020
You know, he was very surprising
289
01:06:23,104 --> 01:06:25,773
and he would have a thought at the last minute.
290
01:06:25,856 --> 01:06:28,275
I think that the sort of a spontaneity
291
01:06:28,359 --> 01:06:30,611
of his work is what excited him
292
01:06:30,695 --> 01:06:33,531
and you had to be ready.
293
01:06:33,614 --> 01:06:37,618
But I mean, it's always, you learn from someone like that
294
01:06:37,702 --> 01:06:39,829
to try to have options.
295
01:07:04,979 --> 01:07:08,607
Sometimes if you make a film that is a good film
296
01:07:08,691 --> 01:07:10,109
in the Hollywood system,
297
01:07:10,192 --> 01:07:12,194
it's a lucky accident, you know?
298
01:07:12,278 --> 01:07:13,237
That system is designed
299
01:07:13,320 --> 01:07:15,781
to make money, not make good films.
300
01:07:15,865 --> 01:07:18,868
If the film is good, okay, then we'll take it.
301
01:07:40,306 --> 01:07:43,392
It was just a--you know, it was just a pleasure to work with him
302
01:07:43,476 --> 01:07:45,811
because we both worked the same way.
303
01:07:45,895 --> 01:07:50,149
That very improvisational, you know,
304
01:07:50,232 --> 01:07:53,194
lazy...instinctive way.
305
01:08:08,918 --> 01:08:11,337
We both didn't know what we were doing.
306
01:08:11,420 --> 01:08:15,049
I never know what scene I'm shooting that day.
307
01:08:15,132 --> 01:08:16,175
He didn't know.
308
01:08:16,258 --> 01:08:18,594
And we'd go-- they'd give us the pages.
309
01:08:40,448 --> 01:08:44,577
He had a great, great eye for composition,
310
01:08:44,662 --> 01:08:46,247
great flair for color,
311
01:08:46,330 --> 01:08:50,542
who just instinctively knew what to do.
312
01:08:50,626 --> 01:08:54,421
Whatever he did just always looked good.
313
01:10:09,997 --> 01:10:14,501
I did a film with Woody in 1991,
314
01:10:14,585 --> 01:10:16,378
the movie Alice,
315
01:10:16,462 --> 01:10:19,840
and then he and Woody made many great films together.
316
01:10:19,924 --> 01:10:21,383
Carlo was very helpful to me
317
01:10:21,467 --> 01:10:24,803
because Woody is very shy, he doesn't speak.
318
01:10:24,887 --> 01:10:26,513
-Sweetheart, I'm home! -Hi!
319
01:10:26,597 --> 01:10:29,141
-I sold the picture! -You did? That's great!
320
01:10:29,224 --> 01:10:31,936
-Which one? -The nude of you.
321
01:10:32,019 --> 01:10:34,521
-Oh, really? -Stop looking so grim.
322
01:10:34,605 --> 01:10:36,231
You're beautiful without clothes.
323
01:10:36,315 --> 01:10:39,652
The relationship between the actor and the cinematographer
324
01:10:39,735 --> 01:10:41,737
can be so important.
325
01:10:41,820 --> 01:10:44,990
The great, great, great cinematographers,
326
01:10:45,074 --> 01:10:48,619
they give you a little gift
327
01:10:48,702 --> 01:10:51,497
and that is when you do a good take,
328
01:10:51,580 --> 01:10:54,583
they are next to the camera and the operator's operating
329
01:10:54,667 --> 01:10:57,544
and they are watching and then they say, "Cut!"
330
01:10:57,628 --> 01:11:00,422
And the great cinematographers, they look at you, they go,
331
01:11:00,506 --> 01:11:02,841
"Very good.
332
01:11:02,925 --> 01:11:04,134
Very good."
333
01:11:04,218 --> 01:11:06,762
They give you a little package, you know?
334
01:11:06,845 --> 01:11:09,390
Which is important, because they are looking.
335
01:11:13,352 --> 01:11:17,106
All of the great, great, great cinematographers
336
01:11:17,189 --> 01:11:18,857
of the last 25, 30 years,
337
01:11:18,941 --> 01:11:20,901
and for Carlo for many years,
338
01:11:20,985 --> 01:11:21,943
they are the same.
339
01:11:22,027 --> 01:11:25,364
They focus you.
340
01:11:25,447 --> 01:11:28,242
They remind you it is an art,
341
01:11:28,325 --> 01:11:30,035
we are here to make art.
342
01:11:30,119 --> 01:11:32,746
When all of the most talented people come together
343
01:11:32,830 --> 01:11:36,291
to make Blow-Up and Radio Days
344
01:11:36,375 --> 01:11:38,752
and all these very beautiful films,
345
01:11:38,836 --> 01:11:40,045
it is art
346
01:11:40,129 --> 01:11:42,006
and the older I get, the more I realize
347
01:11:42,089 --> 01:11:45,968
art is as important as everything else,
348
01:11:46,051 --> 01:11:47,886
maybe more important.
349
01:11:49,471 --> 01:11:52,850
Of course you could never go and see Woody
350
01:11:52,933 --> 01:11:54,059
shoot and work.
351
01:11:54,143 --> 01:11:55,059
You know, you could come, say hello,
352
01:11:55,144 --> 01:11:58,230
and then you had to go away.
353
01:11:58,313 --> 01:12:02,317
And I was immediately struck among all these people,
354
01:12:02,401 --> 01:12:05,571
you know, pretty badly dressed in New York.
355
01:12:05,654 --> 01:12:08,323
There was one sticking out, you know,
356
01:12:08,407 --> 01:12:11,410
elegantissima, and that was Carlo.
357
01:12:11,493 --> 01:12:15,873
Just observing him when he was working with others,
358
01:12:15,956 --> 01:12:17,332
what struck me is
359
01:12:22,421 --> 01:12:24,715
This feeling for the people.
360
01:12:24,798 --> 01:12:28,385
We don't care about colors or light here or there,
361
01:12:28,469 --> 01:12:31,597
it's all about the faces and the communication
362
01:12:31,680 --> 01:12:32,806
with people.
363
01:12:32,890 --> 01:12:34,099
Just the people
364
01:12:34,183 --> 01:12:37,227
and how can I best get the people over.
365
01:12:48,447 --> 01:12:50,783
I saw him at the European Film Awards
366
01:12:50,866 --> 01:12:55,788
when we had this as a great master of these films,
367
01:12:55,871 --> 01:12:59,166
of Deserto Rosso, and it was so fantastic,
368
01:12:59,249 --> 01:13:02,127
so I have him just in my mind.
369
01:13:02,211 --> 01:13:06,632
Look at this poster you gave me in 2005.
370
01:13:06,715 --> 01:13:10,010
And surprise, surprise, I have him here!
371
01:13:10,094 --> 01:13:11,970
Look at this.
372
01:13:41,708 --> 01:13:46,004
Long time ago, it was at the European Film Academy,
373
01:13:46,088 --> 01:13:49,174
I said hello to him because I admire his work
374
01:13:49,258 --> 01:13:52,427
and he was very good teacher for me
375
01:13:52,511 --> 01:13:54,096
when I was younger.
376
01:13:54,179 --> 01:13:57,266
Enjoy. I ask every time to my crew
377
01:13:57,349 --> 01:14:02,938
and also all director I work with,
378
01:14:03,021 --> 01:14:05,274
I ask, "Please, enjoy.
379
01:14:05,357 --> 01:14:08,277
Not for laugh. But enjoy."
380
01:14:08,360 --> 01:14:10,946
You don't like this job? Change.
381
01:14:11,029 --> 01:14:12,573
(laughter)
382
01:14:16,034 --> 01:14:19,705
I don't like to drive. I walk in the street,
383
01:14:19,788 --> 01:14:23,709
I walk and I go into many cafes, many--
384
01:14:23,792 --> 01:14:24,793
for city people
385
01:14:24,877 --> 01:14:27,045
for understand in the street.
386
01:14:27,129 --> 01:14:30,257
All the times I shoot one movie in the street,
387
01:14:30,340 --> 01:14:32,718
I work in the street, I shoot my movie.
388
01:14:32,801 --> 01:14:35,888
I remember, example, yesterday,
389
01:14:35,971 --> 01:14:42,603
I see in the street one very, very, very funny story
390
01:14:42,686 --> 01:14:45,355
that did the people, very, very strange.
391
01:14:45,439 --> 01:14:49,526
Maybe for another ten years, I use this idea.
392
01:14:52,404 --> 01:14:56,909
I think he was feeling a little bit the same like I do.
393
01:14:56,992 --> 01:15:01,079
We liked movies that were made for the people
394
01:15:01,163 --> 01:15:04,750
about love and about emotion.
395
01:15:04,833 --> 01:15:07,836
I think it's so important to do emotional movies
396
01:15:07,920 --> 01:15:12,424
because our world is rare of that.
397
01:15:12,507 --> 01:15:15,886
And he did these kind of movies with wonderful directors,
398
01:15:15,969 --> 01:15:19,473
telling stories, telling stories for the people,
399
01:15:19,556 --> 01:15:23,184
to enjoy them and to think about it.
400
01:15:55,550 --> 01:15:57,928
When I wanted to do a very crude picture
401
01:15:58,011 --> 01:15:59,805
like Husbands and Wives,
402
01:15:59,888 --> 01:16:03,350
with nothing matching and jump cutting
403
01:16:03,433 --> 01:16:08,647
and handheld things, he did that perfectly.
404
01:16:08,730 --> 01:16:10,065
There they are.
405
01:16:10,148 --> 01:16:11,733
Guarantee Jack is gonna want to take us
406
01:16:11,817 --> 01:16:13,026
for Chinese food again.
407
01:16:13,110 --> 01:16:16,071
I think Sally's getting a little tired of our pasta places.
408
01:16:30,002 --> 01:16:32,212
Jack and I are splitting up.
409
01:16:32,296 --> 01:16:35,173
Oh, I see. It's just nothing serious.
410
01:16:35,257 --> 01:16:38,051
Hey, we discussed this for a long, long time
411
01:16:38,135 --> 01:16:39,678
and we both think it's for the best.
412
01:16:39,761 --> 01:16:41,013
I really think it's a masterpiece,
413
01:16:41,096 --> 01:16:43,473
it's just one of the great American films
414
01:16:43,557 --> 01:16:45,183
of the last 30, 40 years,
415
01:16:45,267 --> 01:16:47,728
and, you know, in that film,
416
01:16:47,811 --> 01:16:49,604
the style of the camera,
417
01:16:49,688 --> 01:16:51,315
the sort of way in which he sets up
418
01:16:51,398 --> 01:16:53,442
those dialogue scenes and whatever,
419
01:16:53,525 --> 01:16:54,735
it's just remarkable.
420
01:16:54,818 --> 01:16:57,571
I mean, it's the film of two very, very young men
421
01:16:57,654 --> 01:17:00,032
and yet, neither of them were particularly young
422
01:17:00,115 --> 01:17:01,408
when that film was made
423
01:17:01,491 --> 01:17:02,909
and yet you feel the energy,
424
01:17:02,993 --> 01:17:05,370
the ideas, the inventiveness.
425
01:17:05,454 --> 01:17:08,040
It's a film that today still startles students
426
01:17:08,123 --> 01:17:11,126
when I show them what camera movement can be like,
427
01:17:11,209 --> 01:17:12,544
how it can work.
428
01:17:12,627 --> 01:17:15,589
-And Dostoyevsky? -Dostoyevsky is a full meal
429
01:17:15,672 --> 01:17:18,425
with a vitamin pill and extra wheat germ.
430
01:17:18,508 --> 01:17:20,802
"I fall upon the thorns of life,
431
01:17:20,886 --> 01:17:22,179
I bleed."
432
01:17:22,262 --> 01:17:25,474
I used to think that was so romantic.
433
01:17:42,282 --> 01:17:45,118
(water bubbling, fire hissing)
434
01:17:48,705 --> 01:17:50,040
He takes these guys out of--
435
01:17:50,123 --> 01:17:51,458
it's almost like he brings the director
436
01:17:51,541 --> 01:17:53,377
out of his comfort ground.
437
01:17:53,460 --> 01:17:56,088
You just feel the cameraman.
438
01:17:56,171 --> 01:17:58,173
You know, the reason I love to work in Italy.
439
01:17:58,256 --> 01:17:59,841
I mean, the guy just loves movies
440
01:17:59,925 --> 01:18:01,760
but understands them, gets them,
441
01:18:01,843 --> 01:18:04,221
can talk about 'em, can philosophize on 'em,
442
01:18:04,304 --> 01:18:07,015
and it was a whole tradition that I learned about.
443
01:18:07,099 --> 01:18:08,558
And I know Woody just
444
01:18:08,642 --> 01:18:11,103
embraced him for that, you know what I mean?
445
01:18:11,186 --> 01:18:13,021
For that something that's sometimes missing
446
01:18:13,105 --> 01:18:16,733
when you're a New York filmmaker, you know?
447
01:18:16,817 --> 01:18:18,276
That's what I said, genius, he's out of focus.
448
01:18:18,360 --> 01:18:20,362
No, no, I don't mean the lens, I mean Mel himself.
449
01:18:20,445 --> 01:18:22,155
Let me see that, get the hell outta here.
450
01:18:22,239 --> 01:18:24,032
I don't believe it, you're right, Mel's out of focus.
451
01:18:24,116 --> 01:18:25,659
What? What the hell are you talking about?
452
01:18:25,742 --> 01:18:27,244
I said the actor's out of focus.
453
01:18:27,327 --> 01:18:30,956
-What? How can this be? -Is there something wrong?
454
01:18:31,039 --> 01:18:33,166
-Mel, come here. -What?
455
01:18:33,250 --> 01:18:34,626
I don't know how to tell you this
456
01:18:34,710 --> 01:18:36,294
but, um...you're soft.
457
01:18:36,378 --> 01:18:37,754
Well, I've gained a little weight--
458
01:18:37,838 --> 01:18:39,005
No, no, it's not that.
459
01:18:39,089 --> 01:18:40,382
You're soft.
460
01:18:40,465 --> 01:18:43,635
You're out of focus. I don't know why.
461
01:18:43,719 --> 01:18:44,803
Is there anything we can do about that?
462
01:18:44,886 --> 01:18:48,682
Just look at yourself. Look at yourself.
463
01:18:58,483 --> 01:19:00,986
(overlapping chatter)
464
01:19:03,238 --> 01:19:06,657
Carlo was one of the few...
465
01:19:06,741 --> 01:19:09,870
close people that I...
466
01:19:09,952 --> 01:19:13,123
made friends with in all the years I've been
467
01:19:13,206 --> 01:19:13,999
in the movie business.
468
01:19:14,082 --> 01:19:17,586
I'm not normally a social person
469
01:19:17,669 --> 01:19:20,630
but Carlo was so easygoing, you know?
470
01:19:20,714 --> 01:19:23,383
He had lunch--
471
01:19:23,467 --> 01:19:25,469
I would have lunch with him on the set
472
01:19:25,552 --> 01:19:27,262
and dinner with him in the evening.
473
01:19:27,345 --> 01:19:28,346
Have lunch with him on the set
474
01:19:28,430 --> 01:19:29,556
and dinner with him in the evening.
475
01:19:29,639 --> 01:19:30,891
You know, and between the two of us,
476
01:19:30,974 --> 01:19:32,225
it was never about work.
477
01:19:32,309 --> 01:19:34,519
We were always, "Where are we gonna eat tonight
478
01:19:34,603 --> 01:19:36,021
and where should we go?"
479
01:19:36,104 --> 01:19:38,482
So you know, I had a very, very,
480
01:19:38,565 --> 01:19:41,276
very, very positive time with him.
481
01:19:41,359 --> 01:19:44,863
(traffic sounds)
482
01:20:52,931 --> 01:20:55,433
(murmur of crowd)
483
01:21:09,281 --> 01:21:10,615
(engine puttering)
484
01:21:10,699 --> 01:21:12,534
In my youth in life,
485
01:21:12,617 --> 01:21:15,161
I used to really look up to him
486
01:21:15,245 --> 01:21:17,706
as a kind of guru of light.
487
01:21:17,789 --> 01:21:19,082
Every film was different.
488
01:21:19,165 --> 01:21:21,835
It wasn't like, oh, you know what a Carlo Di Palma film
489
01:21:21,918 --> 01:21:23,044
is gonna look like.
490
01:21:23,128 --> 01:21:26,131
It's people like Carlo who fuel me, you know,
491
01:21:26,214 --> 01:21:30,260
who teach me that there is never a resting place in a way.
492
01:21:30,343 --> 01:21:32,470
That you have to keep pushing the envelope,
493
01:21:32,554 --> 01:21:35,849
you have to keep reinterpreting how you see.
494
01:21:35,932 --> 01:21:39,436
You don't exist in some cinematic bubble,
495
01:21:39,519 --> 01:21:41,104
you have to be part of the world,
496
01:21:41,187 --> 01:21:42,230
you have to be part of that struggle,
497
01:21:42,314 --> 01:21:44,898
and more importantly, you have to decide
498
01:21:44,983 --> 01:21:46,735
which side you're on.
499
01:21:46,818 --> 01:21:49,154
You're either on the side of the money and the greed
500
01:21:49,237 --> 01:21:51,156
or you're on the side of the people
501
01:21:51,239 --> 01:21:52,365
and I think he would say
502
01:21:52,449 --> 01:21:54,409
you have to be on the side of the people.
503
01:22:49,339 --> 01:22:51,216
To be honest, I think one of the things
504
01:22:51,299 --> 01:22:54,219
about his image is I think he really often
505
01:22:54,302 --> 01:22:57,222
makes people confront what's really going on,
506
01:22:57,305 --> 01:22:59,724
and often what's going on isn't right in front of them,
507
01:22:59,808 --> 01:23:01,226
it's what's inside them.
508
01:23:01,309 --> 01:23:03,645
So I think he would continue to send that message
509
01:23:03,728 --> 01:23:06,398
of be truthful, especially to yourself.
510
01:23:06,481 --> 01:23:09,401
And even if you saw Carlo across the room,
511
01:23:09,484 --> 01:23:11,820
you would feel his eyes on you
512
01:23:11,903 --> 01:23:14,572
and you would feel that they came
513
01:23:14,656 --> 01:23:17,409
from a soul that loved people.
514
01:23:17,492 --> 01:23:20,077
And that's the essence of his cinema,
515
01:23:20,161 --> 01:23:22,539
I'll say, is who are we?
516
01:23:32,632 --> 01:23:34,259
He was a master of the close-up.
517
01:23:34,342 --> 01:23:38,388
I mean, not many cameramen can really do close-ups that well.
518
01:23:38,471 --> 01:23:40,890
He was a master of the close-ups
519
01:23:40,974 --> 01:23:43,101
because he loved eyes and he loved to show eyes
520
01:23:43,184 --> 01:23:46,062
and his message is
521
01:23:46,146 --> 01:23:49,816
to trust in our eyes when we make movies
522
01:23:49,898 --> 01:23:57,157
and to show our affection in our work.
523
01:24:39,157 --> 01:24:41,910
If Carlo was sending a message,
524
01:24:41,993 --> 01:24:46,414
he was saying, "Is it possible you could get me a drink?"
525
01:24:46,498 --> 01:24:49,041
(thrum of tram car engine)
526
01:26:20,508 --> 01:26:23,011
(rain pelting)
527
01:26:56,878 --> 01:26:59,047
-And set. -Action.
528
01:26:59,130 --> 01:27:02,467
-Ciao, Carlo. -Ciao, Carlo.
529
01:27:02,550 --> 01:27:04,761
(marker snaps)
530
01:27:04,844 --> 01:27:07,055
Ciao, Carlo!
531
01:27:07,138 --> 01:27:09,641
Ciao, Carlo.
532
01:27:09,724 --> 01:27:10,308
(marker snaps)
533
01:27:10,391 --> 01:27:12,477
(laughs) Ciao!
534
01:27:12,559 --> 01:27:14,771
-(marker snaps) -Ciao, Carlo.
535
01:27:14,854 --> 01:27:16,022
(snaps)
536
01:27:16,105 --> 01:27:17,482
Ciao, Carlo.
537
01:27:17,565 --> 01:27:20,151
Ciao, ciao, ciao, Carlo, ciao, ciao, ciao, ciao.
538
01:27:20,234 --> 01:27:21,653
Ciao, Carlo!
539
01:27:21,736 --> 01:27:24,864
Salaam, Carlo. Namaste, Carlo.
540
01:27:24,948 --> 01:27:26,991
Ciao, Carlo.
541
01:27:27,075 --> 01:27:28,409
(snaps)
542
01:27:28,493 --> 01:27:29,994
Ciao, Carlo.
543
01:27:30,077 --> 01:27:31,245
(snaps)
544
01:27:31,329 --> 01:27:33,122
Ciao, Carlo.
545
01:27:33,206 --> 01:27:35,666
(snaps)
546
01:27:35,750 --> 01:27:37,669
Ciao, Carlo.
547
01:27:37,752 --> 01:27:40,922
So, Carlo is looking at us
548
01:27:41,005 --> 01:27:44,384
and, as always, it warms my heart.
549
01:27:44,467 --> 01:27:45,969
Ciao, Carlo. And...
550
01:27:54,727 --> 01:27:57,188
Ciao, Carlo, ciao.
37865
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