All language subtitles for 29 - Scene Discussion-8 1-2

eight and a half

for example

is a very surprising film

once you get the idea

once you begin to feel that these are memories

of these fantasies

it's all right

but you try not to

I remember singing

I was about 18 years old

so you try not to follow it

you were sort of

along for the ride

so to speak

in the beauty of the

ships back and forth in time

or the ships to fantasy

the effortlessness of the cut

for example

even the cut of him standing in line

for the special water that's good

being given out of the at the spa

and the wonderful moment

where he moves his glasses down like so

and then sees it cuts to Claudia Canale

dressed as one of the nurses

coming out and offering the water to him

it's an obvious flashback

or not should say a fantasy in a way

but one looks at the composition on Mastriani

his costume

his glasses

the use of rasini music

and ultimately

the cut to Claudia Cutnale is overexposed too

it's overexposed

and it becomes very quiet

he was able to play with

the image in such a plastic way

kept stretching the images

and stretching the cutting of the film

so that it exists in some

subconscious level

the seemingly neutral frames if you

if you take a really close look at that picture

have a composition or a lighting effect

that throws one off in a sense that that

that is somehow imbued with the

perception of Guido

the director in the film

his perception

which might be off

might be emphasizing one thing over the other

and when he goes to the

the steambads to try to get

some sort of spiritual guidance from the Cardinal

just the shots of him

going down into the bath

and how everyone's talking to the camera

talking to him saying

he can fix my Mexican divorce

he can do this

his guys gonna support us

and this is what we need for the film

it's how one chooses to show

impressions of that encounter

and his choice of angle

and his choice of lighting

and his choice of size of the composition

and the size of the people in the frames

are all something that becomes um

fluid these are things that

because Guido is feeling so strongly about the need

to have some sort of guidance

or maybe to have some sort of spiritual guidance

it's what he takes back from this meeting

he remembers the shadow

he remembers the frail body of the

of the cardinal

this god like figure who is judging him almost in a way

the steam the steam which is from Dante's Inferno

you know all of this

all of this

hallucinogenic perception of the filmmaker