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RAI RadioteIevisione ItaIiana
presents
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TRAVELLING TIME
by ANDREI TARKOVSKY
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and by:
TONINO GUERRA
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It must be Andrei.
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- Did you have anything to eat?
- Yes, thank you.
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You know, Andrei,
I wrote some poetry Iast night.
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- Oh, yes?
- Yes, for you.
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- For me?
- Yes, I want to read it to you.
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I write poetry in diaIect,
not in ItaIian.
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But I wiII read it in ItaIian
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so maybe you wiII
understand something.
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I don't know what a house is
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Is it a coat?
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Or an umbreIIa if it rains?
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I have fiIIed it with bottIes,
rags, wooden ducks,
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curtains, fans
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00:03:48,480 --> 00:03:51,199
It seems I never want to Ieave it
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Then it's a cage
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That imprisons whoever passes by
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Even a bird Iike you, dirty with snow
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But what we toId each other
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Is so Iight that it cannot be kept in
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It's good.
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It's very good.
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It's very sad.
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No, it gives us some hope.
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Everything wiII go weII.
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00:04:23,520 --> 00:04:26,193
Today is a terribIe day.
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00:04:28,600 --> 00:04:30,113
We need to have a pIan
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because otherwise
we'II never manage to do anything.
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I took down some notes.
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Here we are.
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We need to go through everything.
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We want to keep
of the journey what we did.
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00:04:46,840 --> 00:04:48,751
What can be used for the screenpIay.
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00:04:50,080 --> 00:04:51,752
And we can throw away the rest.
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00:04:51,880 --> 00:04:54,713
But we need to have a generaI Iist.
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We shouId start from Sorrento.
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Excuse me a second.
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Yes?
Oh, MicheIangeIo. Yes, we are here.
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00:05:12,960 --> 00:05:14,439
Say heIIo to MicheIangeIo for me.
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He says heIIo.
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Thank him for everything.
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That's okay.
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Okay.
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You come here.
So you are coming as weII?
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So you come here at 10:00,
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and then we go to the airport together.
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A big hug.
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Bye.
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Bye.
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00:05:41,160 --> 00:05:44,072
Andrei.
I have spoken to MicheIangeIo.
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00:05:45,280 --> 00:05:46,998
He toId me he was the first one
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00:05:47,120 --> 00:05:49,429
to do the documentary on Bomarzo.
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- Ah, yes?
- Yes, there were aII the roots
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00:05:52,080 --> 00:05:54,275
and nobody was taking any notice.
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00:05:54,400 --> 00:05:57,517
That's nice.
He says we were there for a day.
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00:05:58,680 --> 00:05:59,829
Anyway, he wants to see it.
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00:05:59,960 --> 00:06:03,032
He says he wants to say heIIo to you.
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00:06:03,680 --> 00:06:04,430
Thank you.
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00:06:04,720 --> 00:06:05,630
No, but personaIIy.
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00:06:08,080 --> 00:06:12,551
Toni, I've been thinking a Iot
about what you said to me...
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00:06:14,080 --> 00:06:18,039
About those, shaII we say, probIems?
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00:06:19,600 --> 00:06:23,195
You see, I've got a compIicated
impression. I am confused, you see?
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00:06:24,720 --> 00:06:28,076
The things that I saw yesterday
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00:06:29,320 --> 00:06:32,357
seem as if I saw them a week ago.
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00:06:32,560 --> 00:06:37,350
About our journey
that was a month ago,
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00:06:37,760 --> 00:06:41,639
I feeI as if it was
just a moment ago.
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00:06:41,760 --> 00:06:44,797
Everything got mixed up,
the time and the space.
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00:06:44,920 --> 00:06:52,679
I feeI as if for ItaIy, the abiIity
to perceive the depths of perspective
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00:06:53,600 --> 00:06:56,273
has not been invented yet.
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00:06:56,440 --> 00:06:57,475
Proportions...
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00:06:57,720 --> 00:07:03,397
as we saw those trees,
standing on the pIain...
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00:07:03,640 --> 00:07:07,633
This scope somehow reminds me
of Russia and its spaces.
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00:07:07,760 --> 00:07:13,517
Everything eIse Iooks kind of fIat,
as if it was Iocated on a surface.
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00:07:13,720 --> 00:07:15,438
The effect is so strong,
it bothers...
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00:07:15,680 --> 00:07:19,878
AII southern ItaIy, with Sorrento
and everything we saw...
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00:07:20,000 --> 00:07:28,510
What are your most enduring images
out of aII we have seen?
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00:07:28,720 --> 00:07:31,393
Toni, I understand.
I'II teII you honestIy.
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00:07:31,680 --> 00:07:35,719
In the beginning of our journey
I feIt somewhat strange,
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because in the south of ItaIy,
on the shore, it seemed to me...
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AmaIfi.
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Very nice.
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00:07:49,760 --> 00:07:54,595
It's more Iike a resort pIace,
a pIace for rest, for tourists.
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00:07:54,800 --> 00:07:56,791
This irritated me a bit.
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00:07:57,200 --> 00:08:04,151
Most of aII I Iiked, Iet's say,
AmaIfi or the pIace caIIed FIore.
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00:08:04,280 --> 00:08:06,669
Maybe this is where
the pirates used to come.
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00:08:07,160 --> 00:08:10,914
I think it's the onIy pIace
where you can easiIy Iand.
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00:08:11,040 --> 00:08:12,189
Where you can reach the shore.
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00:09:08,200 --> 00:09:11,078
You know, I wouId be sorry...
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00:09:11,200 --> 00:09:13,270
FrankIy, I wouId be very sorry
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00:09:15,480 --> 00:09:18,916
if we threw away aII
Lecce and its baroque.
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00:09:19,040 --> 00:09:20,155
Because it's beautifuI.
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00:09:21,520 --> 00:09:27,231
You know, the Lecce baroque
is unique and sophisticated.
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00:09:29,600 --> 00:09:31,636
It's simpIe.
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00:09:32,200 --> 00:09:33,952
There couId be
some naked coIumns
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00:09:34,080 --> 00:09:36,674
with some huge work inside.
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00:09:37,560 --> 00:09:43,192
So, this fIourish...
This eccentricity
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00:09:43,920 --> 00:09:47,230
onIy appears
in some particuIar areas.
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00:09:48,720 --> 00:09:50,756
Then, do you remember
those churches...
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00:09:50,880 --> 00:09:54,429
AII this Lecce stone.
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00:09:54,560 --> 00:09:57,279
I think that priest
taIked about a speciaI stone.
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00:09:57,840 --> 00:10:00,673
It's aII in the aItars.
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00:10:00,800 --> 00:10:03,155
AItars, aItars and simpIicity.
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00:10:04,720 --> 00:10:07,234
And I Iike it.
Lecce reaIIy impressed me.
106
00:10:08,520 --> 00:10:10,158
Maybe we couId use it.
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00:10:11,000 --> 00:10:14,595
For instance,
if our character was an architect,
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00:10:15,160 --> 00:10:18,835
it wouId be a pity
if he did not see Lecce.
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00:10:19,280 --> 00:10:23,353
Tonino, I think this pIace
is too beautifuI for our movie.
110
00:10:23,480 --> 00:10:25,835
It's too beautifuI.
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00:10:26,480 --> 00:10:29,597
It's very interesting by itseIf,
but I think, that for our character,
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notwithstanding his interest
in architecture, it's too beautifuI.
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00:10:34,680 --> 00:10:38,719
Our character
doesn't aIways have to be
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at ingenious architecturaI sites.
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Wait. We can stop this priest.
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00:10:46,280 --> 00:10:47,349
He'II know more than us.
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00:10:56,120 --> 00:11:01,194
The Lecce baroque fIourished
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00:11:01,320 --> 00:11:04,471
because it's easy
to work the IocaI stone.
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00:11:04,960 --> 00:11:06,518
It's a soft stone.
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00:11:06,640 --> 00:11:09,200
It's a soft stone
that can be easiIy worked on.
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00:11:09,520 --> 00:11:11,033
And it's aIso very resistant
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00:11:11,160 --> 00:11:12,275
as you can see.
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00:11:12,400 --> 00:11:15,437
I couId aIso add
that under the cathedraI
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00:11:15,560 --> 00:11:19,758
Iies the antique chapeI.
The antique church.
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00:11:21,160 --> 00:11:22,434
There are 48 coIumns.
126
00:11:22,560 --> 00:11:24,676
But they aII have their own symmetry.
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00:11:24,800 --> 00:11:26,518
You'II see aII these straight coIumns.
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00:11:26,640 --> 00:11:27,390
I see.
129
00:11:29,760 --> 00:11:32,228
There is a good priest
that wiII expIain everything to you.
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00:11:32,360 --> 00:11:33,156
I understand.
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00:11:34,920 --> 00:11:37,593
Then the mosaics on the fIoor
are symboIic.
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00:11:38,920 --> 00:11:41,070
They date back to even before Dante.
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00:11:41,200 --> 00:11:47,469
Here there was a Iiterary cuIture
that preceded Dante.
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00:12:18,320 --> 00:12:20,515
AII the different cuItures,
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00:12:20,680 --> 00:12:25,151
Indian, Persian, Egyptian,
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00:12:26,840 --> 00:12:32,915
Mesopotamic,
Scandinavian, HeIIenistic,
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00:12:33,520 --> 00:12:37,513
PIatonic and Augustinian, BibIicaI
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00:12:38,280 --> 00:12:42,159
and Breton cuItures are on this tree.
139
00:12:42,520 --> 00:12:46,877
And in aII cuItures
there is something true.
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00:12:47,640 --> 00:12:54,876
And to enrich themseIves, being faithfuI
to their poIiticaI and reIigious beIiefs,
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00:12:55,000 --> 00:12:59,357
human beings take whatever
they need from other cuItures.
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00:13:00,080 --> 00:13:01,308
In an open way.
143
00:13:04,240 --> 00:13:06,515
This concept was reaffirmed
by the second Vatican CounciI.
144
00:13:06,640 --> 00:13:08,471
But we aIready Iived it.
145
00:13:08,600 --> 00:13:09,999
It's the BibIicaI concept.
146
00:13:11,000 --> 00:13:14,470
So in respect of these cuItures,
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00:13:14,600 --> 00:13:19,071
today we can have a diaIogue
with aII cuItures.
148
00:13:19,720 --> 00:13:22,280
Without any obstacIes.
Without any ideoIogy.
149
00:15:00,000 --> 00:15:02,719
I am very happy that
the Madonna deI Parto
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00:15:04,520 --> 00:15:08,229
wiII probabIy be in the fiIm.
151
00:15:10,080 --> 00:15:12,150
Because it's so beautifuI.
Very beautifuI.
152
00:15:14,280 --> 00:15:15,679
I got a bit worried
153
00:15:17,680 --> 00:15:19,955
when I saw these reproductions.
154
00:15:21,960 --> 00:15:24,110
Look at aII this red. It's not there.
155
00:15:25,120 --> 00:15:28,715
The waIIs seem to be
ready to eat the painting.
156
00:15:29,200 --> 00:15:31,475
There is so much dust.
157
00:15:31,600 --> 00:15:37,277
And there is this bIue and white
on the Iap. It's incredibIe.
158
00:15:38,320 --> 00:15:39,230
Here it's nothing.
159
00:15:39,360 --> 00:15:41,635
So I don't beIieve
in painting reproductions,
160
00:15:41,760 --> 00:15:45,799
I don't beIieve in poem transIations.
161
00:15:47,760 --> 00:15:49,557
The art is very jeaIous.
162
00:15:52,240 --> 00:15:53,036
Very jeaIous.
163
00:15:54,680 --> 00:15:55,874
You must Iook for it at home.
164
00:16:05,720 --> 00:16:07,915
Some young peopIe
sent a few questions.
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00:16:14,120 --> 00:16:15,075
Listen to this.
166
00:16:17,040 --> 00:16:21,591
If you had to taIk to today's
and yesterday's great directors,
167
00:16:23,000 --> 00:16:27,118
for what reasons
wouId you thank each of them
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00:16:27,240 --> 00:16:30,277
for what you feeI they gave you?
169
00:16:36,480 --> 00:16:41,759
First of aII, I have to recoIIect,
not recoIIect, I aIways remember
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00:16:42,680 --> 00:16:45,319
ingenious Dovzhenko,
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00:16:45,480 --> 00:16:48,631
AIexander Dovzhenko,
''La Terra'' by Dovzhenko.
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00:16:49,000 --> 00:16:50,558
The mute movie.
173
00:16:51,280 --> 00:16:52,508
Outstanding director.
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00:16:52,720 --> 00:16:57,840
In that era of siIent movies,
he made miracIes, in my opinion.
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00:16:57,960 --> 00:16:59,996
Poetic cinema.
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00:17:00,200 --> 00:17:06,230
I'II be brief in answering
this question.
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00:17:06,960 --> 00:17:12,273
Then... Bresson,
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00:17:14,040 --> 00:17:15,758
Robert Bresson.
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00:17:16,200 --> 00:17:20,990
Bresson has aIways astonished me
and attracted me with his ascetics.
180
00:17:21,280 --> 00:17:24,033
It seems to me that he is
the onIy director in the worId
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00:17:24,240 --> 00:17:28,836
that has achieved absoIute
simpIicity in cinema.
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00:17:29,040 --> 00:17:34,433
As it was achieved in music by Bach,
in art by Leonardo...
183
00:17:38,880 --> 00:17:41,440
ToIstoy achieved it as a writer.
184
00:17:41,560 --> 00:17:43,790
For me, ToIstoy, do you understand?
185
00:17:47,000 --> 00:17:52,199
Therefore for me he's aIways been
an exampIe of ingenious simpIicity.
186
00:17:52,320 --> 00:17:53,639
Ascetics...
187
00:17:54,920 --> 00:17:57,354
Antonioni, for sure.
188
00:17:57,480 --> 00:18:00,392
Because Antonioni has made
a strong impression on me
189
00:18:00,520 --> 00:18:03,956
with his fiIms,
especiaIIy with adventures,
190
00:18:04,600 --> 00:18:07,160
for which you,
by the way, wrote a script.
191
00:18:11,280 --> 00:18:14,272
Yes, you heIped
and you made the script.
192
00:18:14,400 --> 00:18:16,118
I find the movie very interesting.
193
00:18:16,240 --> 00:18:22,315
I reaIised then,
watching this fiIm, that ''action'',
194
00:18:22,960 --> 00:18:26,396
the meaning of action in cinema
is rather conditionaI.
195
00:18:26,520 --> 00:18:29,159
There's practicaIIy no action
going on in Antonioni fiIms.
196
00:18:29,320 --> 00:18:33,598
And this is the meaning of ''action''
in Antonioni fiIms.
197
00:18:33,760 --> 00:18:36,558
More preciseIy, in those
Antonioni fiIms that I Iike the most.
198
00:18:37,840 --> 00:18:44,439
I Iike FeIIini for his kindness,
for his Iove of peopIe,
199
00:18:45,360 --> 00:18:49,069
for his, Iet's say, simpIicity
200
00:18:49,280 --> 00:18:53,114
and intimate intonation.
201
00:18:53,440 --> 00:18:55,590
If you'd Iike to know -
202
00:18:56,400 --> 00:19:02,111
not for popuIarity,
but rather for his humanity -
203
00:19:02,240 --> 00:19:08,475
I vaIue him tremendousIy.
His baroque, exuberant, beautifuI...
204
00:19:11,760 --> 00:19:18,154
His movie ''PaIe Moon TaIes''
is astounding in its simpIicity,
205
00:19:18,320 --> 00:19:20,595
eIegance and wonderfuI nobIeness
206
00:19:20,760 --> 00:19:24,878
of picture and acting.
207
00:19:27,160 --> 00:19:33,190
I remember Vigo
with tenderness and thankfuIness,
208
00:19:34,320 --> 00:19:35,753
the French director,
209
00:19:35,880 --> 00:19:42,433
who, in my opinion, is the father
of modern French cinema.
210
00:19:42,560 --> 00:19:48,556
First, the new wave, then what this
wave has thrown out on the shore,
211
00:19:48,680 --> 00:19:52,514
what has Ieft after this wave.
212
00:19:53,200 --> 00:19:55,111
It was...
213
00:19:56,920 --> 00:20:01,675
Vigo has founded the French movie,
and nobody has gone farther than him.
214
00:20:04,200 --> 00:20:08,512
Then, with great pIeasure
and thankfuIness I aIways remember
215
00:20:08,680 --> 00:20:12,719
the fiIms of Sergei Paradzhanov,
that I Iike very much.
216
00:20:12,880 --> 00:20:16,793
His way of thinking
is very paradox and poetic.
217
00:20:17,000 --> 00:20:20,276
His abiIity of Ioving the beauty,
218
00:20:20,440 --> 00:20:23,989
his skiII of being compIeteIy free
inside his own creation.
219
00:20:24,920 --> 00:20:26,990
Where did we see
aII those hydrangeas?
220
00:20:27,120 --> 00:20:27,996
Do you remember?
221
00:20:28,640 --> 00:20:29,914
No, I don't.
222
00:20:30,720 --> 00:20:34,076
RaveIIo. RaveIIo.
I think it was in that cIoister.
223
00:20:34,320 --> 00:20:39,838
I remember the Iessons of Bergman,
224
00:20:40,280 --> 00:20:42,669
his fiIms that I Iike very much
225
00:20:42,800 --> 00:20:45,633
and that I watch over and over every time
I start making a new fiIm of my own.
226
00:20:54,720 --> 00:20:59,236
This viIIa, was it buiIt
by order of a Russian princess?
227
00:20:59,560 --> 00:21:02,552
No, it wasn't buiIt
by order of a Russian princess.
228
00:21:02,680 --> 00:21:06,878
But by order of the Borboni
of NapIes and of the Two SiciIies.
229
00:21:07,080 --> 00:21:10,629
But at one point
a Russian princess
230
00:21:10,760 --> 00:21:12,830
became the owner.
231
00:21:13,160 --> 00:21:19,156
Yes, the Russian princess
came here once the viIIa
232
00:21:19,280 --> 00:21:23,398
was given as a present
to Maria FiIiberta di Savoia,
233
00:21:23,520 --> 00:21:26,398
who soId it to the Korchakov.
234
00:21:26,520 --> 00:21:30,035
And to be precise,
to the princess EIena Korchakova.
235
00:21:31,560 --> 00:21:32,515
TeII him, pIease.
236
00:21:32,800 --> 00:21:35,917
- Do you understand?
- Yes, I understand.
237
00:21:36,040 --> 00:21:37,314
I want to ask you a question.
238
00:21:37,520 --> 00:21:41,638
We came here for a very odd thing
that happened to me.
239
00:21:42,080 --> 00:21:44,719
Seven, eight years ago,
someone toId me about a fIoor.
240
00:21:44,840 --> 00:21:50,517
And I have gone crazy
and hope I'II drive him crazy as weII
241
00:21:50,640 --> 00:21:52,153
in an attempt to see this fIoor.
242
00:21:52,280 --> 00:21:57,877
It's a white fIoor, made by PaIizzi,
with some rose petaIs.
243
00:21:59,120 --> 00:22:00,269
Yes, it's true.
244
00:22:00,400 --> 00:22:02,834
And who buiIt that?
It was the princess.
245
00:22:03,120 --> 00:22:06,874
Yes. That fIoor is in the viIIa.
246
00:22:07,000 --> 00:22:12,677
It was designed for this viIIa
by the painter FiIippo PaIizzi.
247
00:22:13,720 --> 00:22:19,078
In 1888, I beIieve.
248
00:22:22,320 --> 00:22:23,355
And it's unique.
249
00:22:23,480 --> 00:22:28,952
In fact, it's very big,
about 15 metres Iong.
250
00:22:29,080 --> 00:22:35,599
With rose petaIs scattered everywhere.
Rose petaIs and Ieaves.
251
00:22:37,960 --> 00:22:43,114
In memory of a Portuguese countess.
252
00:22:43,640 --> 00:22:44,356
No, sorry.
253
00:22:44,480 --> 00:22:46,630
It's the same.
254
00:22:47,600 --> 00:22:50,956
No, she wasn't Portuguese.
Sorry, she was Hungarian.
255
00:22:51,440 --> 00:22:52,190
I made a mistake.
256
00:22:52,320 --> 00:22:55,790
Yes, an eighteen-year oId
257
00:22:55,920 --> 00:22:56,955
Hungarian countess,
258
00:22:57,080 --> 00:22:59,753
of whom the Borbone
feII madIy in Iove.
259
00:22:59,880 --> 00:23:06,149
Then, this countess died
and apparentIy the Borbone went mad
260
00:23:06,280 --> 00:23:11,957
and fIung every object that
the countess had touched into the sea.
261
00:23:12,080 --> 00:23:15,914
TeII Andrei that I toId him the truth.
262
00:23:16,040 --> 00:23:21,637
We are cIose to the viIIa and the
current owner won't Iet us see the fIoor
263
00:23:21,760 --> 00:23:22,795
but the fIoor is there.
264
00:23:22,920 --> 00:23:26,117
It's not true that the owner
won't Iet you see the fIoor.
265
00:23:26,240 --> 00:23:30,074
UnfortunateIy, the owner is not
in Sorrento at the moment.
266
00:23:30,200 --> 00:23:33,158
So, we cannot gain access
267
00:23:33,320 --> 00:23:39,077
to the rooms where the fIoor is.
268
00:23:39,200 --> 00:23:43,751
Okay, but we've been trying
to get in touch with her for four days.
269
00:23:43,880 --> 00:23:45,677
Now, it seems a bit...
270
00:23:45,800 --> 00:23:46,869
WeII, this is unIikeIy.
271
00:23:49,680 --> 00:23:53,673
I received a caII
at 9:15 this morning.
272
00:23:53,800 --> 00:23:59,875
I did not have the time to taIk to her
and ask her to canceI her engagements.
273
00:24:00,040 --> 00:24:04,830
I am okay. I just wanted to prove
that the fIoor is actuaIIy there.
274
00:24:04,960 --> 00:24:07,838
Because we went to see
the bread and the bread is not there.
275
00:24:07,960 --> 00:24:10,474
- You made up the whoIe bread thing.
- You made up the whoIe bread thing.
276
00:24:10,600 --> 00:24:12,158
It's not true.
It's not true.
277
00:24:12,280 --> 00:24:14,157
It's not important.
278
00:24:14,280 --> 00:24:18,432
At this moment
the owner doesn't Iive here.
279
00:24:18,560 --> 00:24:21,632
I can Iet you take a picture
of the fIoor on the terrace
280
00:24:21,760 --> 00:24:27,153
where there is a pIaque in memory
of a party that was heId here
281
00:24:27,320 --> 00:24:31,029
at Parco dei Principi.
The famous JuIia Sedova was a guest,
282
00:24:31,160 --> 00:24:34,709
the great baIIet dancer of the
Saint Petersburg ImperiaI Theatre.
283
00:24:35,760 --> 00:24:37,955
Here he'II show us
another fIoor on the terrace,
284
00:24:38,080 --> 00:24:41,675
that was made in memory
of JuIia Sedova,
285
00:24:41,920 --> 00:24:44,309
the great baIIet dancer of the
Saint Petersburg ImperiaI Theatre.
286
00:24:44,440 --> 00:24:46,192
Of her performance here...
287
00:24:46,320 --> 00:24:51,838
In memory of such a poetic story,
Princess Korchakov
288
00:24:51,960 --> 00:24:58,354
asked PaIizzi to paint
this fIoor with rose petaIs.
289
00:24:58,480 --> 00:25:03,918
In memory of such a poetic story,
Princess Korchakov asked
290
00:25:04,040 --> 00:25:08,352
PaIizzi to paint this fIoor
with rose petaIs.
291
00:25:08,480 --> 00:25:11,995
- This is a romantic story. It is beautifuI.
- SentimentaI.
292
00:25:13,320 --> 00:25:18,110
- Yes, a poetic and romantic story.
- Very nice.
293
00:25:19,200 --> 00:25:22,875
I Iiked the idea of the painter,
of PaIizzi.
294
00:25:23,000 --> 00:25:30,350
He did this white fIoor with petaIs
scattered here and there.
295
00:25:31,640 --> 00:25:34,473
They Iook Iike they were
thrown in from the window.
296
00:25:34,600 --> 00:25:40,470
As those Ieaves
are faIIing from the window...
297
00:25:40,600 --> 00:25:44,798
I have a page of this fIoor
298
00:25:44,920 --> 00:25:50,278
that was photographed by a magazine
speciaIising in architecture.
299
00:25:50,400 --> 00:25:52,994
It was presented
as a totaIIy unique fIoor.
300
00:25:53,800 --> 00:25:56,030
Okay, Iet's see this page.
301
00:25:57,760 --> 00:25:59,910
Let's see this page,
Iet's see this page.
302
00:26:00,480 --> 00:26:02,118
But what have I got to do
with Sorrento?
303
00:26:02,240 --> 00:26:06,711
I Iike it, they teII me about
an extraordinary white fIoor,
304
00:26:06,840 --> 00:26:09,673
with some roses scattered everywhere.
305
00:26:09,840 --> 00:26:11,114
Is it my fauIt if it's not there?
306
00:26:12,720 --> 00:26:15,314
Isn't it wonderfuI
to see something Iike that?
307
00:26:15,440 --> 00:26:16,793
I think it was PaIizzi who did it.
308
00:26:17,600 --> 00:26:20,034
Isn't it wonderfuI to see this fIoor?
309
00:26:20,160 --> 00:26:23,550
We know that there is
a cIosed home with a big fIoor
310
00:26:23,680 --> 00:26:26,592
and that a woman asked for
aII these white tiIes to be made.
311
00:26:27,520 --> 00:26:29,954
With rose petaIs scattered around,
not in a reguIar pattern
312
00:26:30,080 --> 00:26:35,108
as if the wind had bIown away
some rose Ieaves.
313
00:26:35,360 --> 00:26:36,156
Of course, it's not there.
314
00:26:36,280 --> 00:26:37,679
A guy from NapIes toId me.
315
00:26:37,840 --> 00:26:40,513
''Why do you make me go to NapIes?''
316
00:26:40,640 --> 00:26:41,595
I have done everything I couId.
317
00:26:41,800 --> 00:26:44,314
I swear,
I couIdn't do anything more than this.
318
00:26:50,840 --> 00:26:55,072
If you had to taIk to
some young directors,
319
00:26:56,080 --> 00:27:01,518
what wouId your
main recommendations be?
320
00:27:07,600 --> 00:27:09,795
Nowadays everyone makes movies,
321
00:27:10,000 --> 00:27:14,915
everybody thinks they can
make movies, you see?
322
00:27:16,160 --> 00:27:17,991
Anyone that is not too Iazy...
323
00:27:19,240 --> 00:27:23,028
It's not hard to Iearn how to gIue
the fiIm, how to work a camera...
324
00:27:25,800 --> 00:27:31,033
But the advice
I can give to beginners
325
00:27:32,120 --> 00:27:38,798
is not to separate their work,
their movie,
326
00:27:40,760 --> 00:27:45,880
their fiIm from the Iife they Iive.
327
00:27:46,200 --> 00:27:52,719
Not to make a difference between
the movie and their own Iife.
328
00:27:56,280 --> 00:27:58,157
Because...
329
00:28:02,480 --> 00:28:06,917
a director is Iike any other artist:
330
00:28:07,080 --> 00:28:10,914
a painter, a poet, a musician...
331
00:28:11,440 --> 00:28:18,312
And since it is required from him
to contribute his own seIf,
332
00:28:18,560 --> 00:28:24,271
it is strange to see directors
333
00:28:24,480 --> 00:28:29,156
that take their work
334
00:28:29,320 --> 00:28:35,111
as a speciaI position,
given to them by destiny,
335
00:28:35,320 --> 00:28:37,834
and simpIy expIoit their profession.
336
00:28:38,000 --> 00:28:42,118
That is, they Iive in one way,
but make movies about something eIse.
337
00:28:43,040 --> 00:28:46,077
And I'd Iike to teII directors,
especiaIIy young ones,
338
00:28:46,240 --> 00:28:49,835
that they shouId be
moraIIy responsibIe
339
00:28:50,200 --> 00:28:53,749
for what they do
whiIe making their fiIms.
340
00:28:54,080 --> 00:28:56,719
Do you understand?
It is the most important of aII.
341
00:28:57,160 --> 00:29:01,551
SecondIy, they shouId
be prepared for the thought
342
00:29:01,680 --> 00:29:08,995
that cinema is a very difficuIt
and serious art.
343
00:29:09,120 --> 00:29:12,032
It requires sacrificing of yourseIf.
344
00:29:12,160 --> 00:29:16,631
You shouId beIong to it,
it shouIdn't beIong to you.
345
00:29:19,000 --> 00:29:26,236
Cinema uses your Iife,
not vice versa.
346
00:29:26,480 --> 00:29:30,951
Therefore I think that
this is the most important...
347
00:29:31,120 --> 00:29:34,874
You shouId sacrifice yourseIf
to the art.
348
00:29:35,000 --> 00:29:40,358
This is what I've been thinking
IateIy about my profession.
349
00:29:42,920 --> 00:29:44,990
What's the probIem?
He Iooks a bit nervous.
350
00:29:45,120 --> 00:29:48,078
We aIways traveI
to these kinds of ''tourist'' sites.
351
00:29:48,200 --> 00:29:51,875
We aIways go to tourist pIaces.
352
00:29:52,000 --> 00:29:54,719
I've not yet seen a pIace, where...
353
00:29:54,840 --> 00:29:57,400
I have not yet seen the pIace...
354
00:29:57,800 --> 00:30:01,759
...where our character couId be...
355
00:30:01,880 --> 00:30:04,633
...where our character couId Iive.
356
00:30:05,000 --> 00:30:09,198
He's right but I am
showing him aII these pIaces
357
00:30:09,320 --> 00:30:13,154
to enrich him with
aII these ItaIian beauties.
358
00:30:13,320 --> 00:30:14,833
After that,
he can forget about them.
359
00:30:14,960 --> 00:30:17,269
On the other hand,
I couId ask him a question.
360
00:30:17,400 --> 00:30:19,118
On the other hand,
I couId ask you a question.
361
00:30:19,240 --> 00:30:22,312
Why wouId a Russian person
come here for a month?
362
00:30:22,440 --> 00:30:25,352
Why wouId a Russian person
come here for a month?
363
00:30:25,480 --> 00:30:29,314
He comes here for work or,
not so much for tourism,
364
00:30:29,440 --> 00:30:31,158
but for the cuIture.
365
00:30:31,320 --> 00:30:33,709
Our character wouId be abstract
366
00:30:33,840 --> 00:30:36,115
if we didn't show anything.
367
00:30:36,240 --> 00:30:38,708
I agree that we shouIdn't show
too much of these beauties
368
00:30:38,840 --> 00:30:40,876
but I wouIdn't Iike him to be abstract.
369
00:30:41,000 --> 00:30:42,513
I'd Iike to make a comparison.
370
00:30:42,640 --> 00:30:46,872
In my viIIage, there is a painter
caIIed Federico Moroni.
371
00:30:47,760 --> 00:30:48,556
He's very good.
372
00:30:48,680 --> 00:30:53,196
He's a great master.
373
00:30:53,320 --> 00:30:58,155
Once, he gave his pupiIs
an iron baII to hoId
374
00:30:58,280 --> 00:30:59,156
with the Ieft hand.
375
00:31:00,560 --> 00:31:03,233
Then he gave them a penciI
to hoId with the right hand
376
00:31:03,360 --> 00:31:04,839
and asked them to draw a circIe.
377
00:31:04,960 --> 00:31:07,474
The kids drew the circIe.
378
00:31:07,600 --> 00:31:09,636
But it wasn't a fIat circIe.
379
00:31:09,760 --> 00:31:11,671
It was a circIe with some voIume.
380
00:31:11,800 --> 00:31:16,157
It contained the weight of the baII
on their Ieft hand.
381
00:31:16,280 --> 00:31:21,479
Then I wouId Iike to put on his Ieft
hand as many ItaIian images as I can
382
00:31:21,600 --> 00:31:26,355
so that if tomorrow he takes a picture
of a fieId or something anonymous
383
00:31:26,480 --> 00:31:29,233
this wiII contain those beauties.
384
00:31:29,360 --> 00:31:34,309
I am a bit worried as I feeI
Iike I am on hoIiday.
385
00:31:34,480 --> 00:31:36,914
And I am not used to this state.
386
00:31:37,040 --> 00:31:42,319
I am a bit worried
as I feeI Iike I am on hoIiday.
387
00:31:42,440 --> 00:31:45,477
And I am not used to taking hoIidays.
388
00:31:45,600 --> 00:31:48,353
For me it's very important
that we experience this way of Iife.
389
00:31:48,520 --> 00:31:52,877
For me it's very important
that we experience this way of Iife.
390
00:31:53,000 --> 00:31:54,319
Not onIy the beauty of ItaIy...
391
00:31:54,440 --> 00:31:59,309
Not onIy the beauty
and architecture of ItaIy
392
00:31:59,440 --> 00:32:02,910
but aIso the peopIe, their work.
393
00:32:03,040 --> 00:32:08,273
What happens in the streets,
their feeIings...
394
00:32:10,920 --> 00:32:12,876
He's right but Iet me ask a question.
395
00:32:13,000 --> 00:32:14,752
How many days
have we been around?
396
00:32:14,880 --> 00:32:15,630
Four days.
397
00:32:17,040 --> 00:32:18,951
You must see these things.
398
00:32:20,720 --> 00:32:24,269
I feeI Iike we've been
traveIIing for 2 weeks.
399
00:35:18,320 --> 00:35:21,437
This is a girI posing a question.
400
00:35:23,080 --> 00:35:27,119
Is science fiction a worId
you feeI passionate about
401
00:35:27,240 --> 00:35:30,471
or is it a way to escape reaIity?
402
00:35:31,840 --> 00:35:38,439
Neither Toni.
I don't Iike fiction,
403
00:35:39,560 --> 00:35:43,473
as I don't Iike to escape Iife.
404
00:35:44,960 --> 00:35:51,911
In the meaning... I think that genre
in cinema aIways indicates
405
00:35:52,040 --> 00:35:59,390
a commerciaI movie, in the bad
meaning of this word ''commerciaI''.
406
00:35:59,680 --> 00:36:05,516
I am not against popuIarity,
but I'm against commerciaI movies.
407
00:36:05,720 --> 00:36:10,157
Therefore when I make fiction fiIms,
408
00:36:10,280 --> 00:36:13,113
I don't think of them as a fiction.
409
00:36:13,320 --> 00:36:17,518
For instance, I find
the movie ''SoIaris'' not so good,
410
00:36:17,640 --> 00:36:21,997
because I couId not escape
411
00:36:22,240 --> 00:36:29,510
from the genre,
from the fictionaI detaiIs.
412
00:36:29,960 --> 00:36:31,473
In ''StaIkin'', however,
413
00:36:31,680 --> 00:36:34,717
the movie that was made
was based on a science-fiction story.
414
00:36:35,200 --> 00:36:38,556
I think I've managed
to overcome this genre
415
00:36:38,720 --> 00:36:42,759
and to get rid of aII
''science-fiction'' signs compIeteIy.
416
00:36:42,960 --> 00:36:46,270
This gives me a big pIeasure.
417
00:36:46,960 --> 00:36:50,839
The genre probIem in cinema
doesn't exist for me,
418
00:36:50,960 --> 00:36:55,351
because for me, cinema is an art
that can cover everything:
419
00:36:56,080 --> 00:37:01,029
tragedy, happiness,
sadness, fun, fortune...
420
00:37:01,520 --> 00:37:07,709
OnIy then is cinema
abIe to refIect Iife.
421
00:37:08,280 --> 00:37:13,638
On the other hand,
I don't reaIIy
422
00:37:14,520 --> 00:37:19,275
Iike commerciaI movies, you see?
423
00:37:19,440 --> 00:37:24,150
Anyway, I am not a fan
of the science-fiction genre.
424
00:37:24,360 --> 00:37:31,038
And whiIe making a movie,
I first of aII think of it
425
00:37:31,240 --> 00:37:35,279
as a movie without any genre at aII.
426
00:37:35,760 --> 00:37:39,196
Why were you so fascinated
by Bagni Vignone?
427
00:38:03,640 --> 00:38:08,589
I thought we shouId make
428
00:38:08,800 --> 00:38:11,519
one of the most important
scenes here, in the hoteI.
429
00:38:12,760 --> 00:38:14,239
Maybe not in the hoteI,
430
00:38:14,400 --> 00:38:20,509
but with decorations,
Iooking Iike it.
431
00:38:21,160 --> 00:38:23,469
Do you remember when I feIt sick
432
00:38:23,680 --> 00:38:28,879
and went to room 38 to rest?
433
00:38:29,120 --> 00:38:30,838
For an hour.
434
00:38:31,080 --> 00:38:37,269
This room astonished me, since
the window wasn't facing the street.
435
00:38:37,480 --> 00:38:42,156
I didn't see any Iandscape.
It was a weII, a tiny weII
436
00:38:42,520 --> 00:38:45,557
with a dim Iight.
437
00:38:45,800 --> 00:38:48,837
It was dark inside,
it was aIways dark in this room.
438
00:38:49,200 --> 00:38:54,638
It was a very strange mysterious
pIace, Iike a hospitaI, maybe.
439
00:38:55,000 --> 00:38:58,959
A pIace where one
couId onIy feeI very bad.
440
00:38:59,800 --> 00:39:01,995
There is not enough air...
441
00:39:02,240 --> 00:39:05,516
I thought we shouId
make a scene here, in this room
442
00:39:05,680 --> 00:39:09,719
about our character...
In the moment of crisis...
443
00:39:10,640 --> 00:39:12,437
That's what I thought...
444
00:39:12,640 --> 00:39:18,078
Not onIy do I Iike this room,
445
00:39:18,600 --> 00:39:25,233
I aIso Iike this swimming pooI,
of course.
446
00:39:25,520 --> 00:39:27,476
This swimming pooI from which
447
00:39:28,520 --> 00:39:34,868
steam rises in the mornings...
448
00:39:35,320 --> 00:39:40,269
The atmosphere of mystery,
sadness and IoneIiness...
449
00:39:40,440 --> 00:39:43,716
I think that in the Iate autumn
it'II be very beautifuI.
450
00:39:44,680 --> 00:39:47,797
It is the most important,
I agree with you,
451
00:39:47,920 --> 00:39:51,595
the most important scene
of our future movie.
452
00:39:52,320 --> 00:39:57,110
I don't think we shouId pay a Iot
of attention to the architecture,
453
00:39:57,240 --> 00:40:01,438
aIthough our character
is interested in architecture.
454
00:40:01,920 --> 00:40:06,357
I think it is important to pay
attention to the journey
455
00:40:06,720 --> 00:40:11,236
that our character makes inside
himseIf, this is the most important.
456
00:40:11,400 --> 00:40:16,394
And in my opinion,
this pIace is very usefuI to make...
457
00:43:53,680 --> 00:43:54,795
Do you cook your own food?
458
00:43:54,920 --> 00:43:55,636
Yes, everything.
459
00:43:56,320 --> 00:43:58,629
- Every morning?
- Yes.
460
00:43:58,760 --> 00:43:59,988
You are good.
461
00:44:00,120 --> 00:44:01,599
And what time do you go to bed?
462
00:44:01,720 --> 00:44:04,917
In the evening,
towards 10:00, 10:30 pm.
463
00:44:05,680 --> 00:44:07,272
What time do you get up
in the morning?
464
00:44:07,400 --> 00:44:08,958
4:30 am at the Iatest.
465
00:44:09,680 --> 00:44:11,511
- Are you the one who rings the beII?
- Yes.
466
00:44:12,320 --> 00:44:13,639
- At midday?
- At midday.
467
00:44:15,680 --> 00:44:17,079
And what have you cooked today?
468
00:44:17,560 --> 00:44:18,879
WeII, I don't know yet.
469
00:44:19,040 --> 00:44:20,029
You don't know?
470
00:44:21,160 --> 00:44:23,390
Listen, now you waIk
towards the church.
471
00:44:24,000 --> 00:44:26,195
You can go towards the church. Bye.
472
00:44:30,640 --> 00:44:32,153
Straight on, towards the road.
473
00:44:37,800 --> 00:44:42,920
Which fiIms did you not
manage to do and why?
474
00:44:45,760 --> 00:44:48,832
There were a Iot of other intentions
475
00:44:49,040 --> 00:44:55,229
that I couIdn't make happen.
476
00:44:55,360 --> 00:45:02,311
I think that every director
aIways has some pIans
477
00:45:02,480 --> 00:45:04,869
that don't happen
for some reasons.
478
00:45:05,040 --> 00:45:09,909
I think it's part of a director's work
to have these ideas
479
00:45:12,440 --> 00:45:20,358
that you cannot make happen.
480
00:45:21,640 --> 00:45:24,393
I have this one scene
that I Iike very much.
481
00:45:24,920 --> 00:45:30,790
Maybe some day I'II make
a movie out of it...
482
00:45:31,000 --> 00:45:38,236
About a man who
sets his wife on fire
483
00:45:38,560 --> 00:45:43,953
onIy because she doesn't teII
the truth, because she Iies.
484
00:45:44,560 --> 00:45:49,236
Lies aren't very important issues,
you see?
485
00:45:52,160 --> 00:45:54,071
He Ioves her very much,
and she Ioves him.
486
00:45:54,200 --> 00:45:57,476
She is a wonderfuI woman,
they Iove each other,
487
00:45:57,600 --> 00:45:59,909
and they have
a wonderfuI reIationship.
488
00:46:00,080 --> 00:46:03,311
But she makes things up.
489
00:46:03,480 --> 00:46:07,837
She goes out and when she comes
back, he asks: Where have you been?
490
00:46:08,000 --> 00:46:09,718
She answers:
''I was visiting a friend.''
491
00:46:10,080 --> 00:46:13,868
But he knows that she
wasn't at her friend's house,
492
00:46:14,040 --> 00:46:19,273
she was some pIace eIse,
Iet's say in the movie theatre.
493
00:46:19,480 --> 00:46:21,596
He doesn't understand
why she Iies.
494
00:46:21,760 --> 00:46:23,955
I think she doesn't
reaIise it either.
495
00:46:24,120 --> 00:46:28,432
Maybe because of some
seIf-preservation instincts.
496
00:46:28,680 --> 00:46:33,515
He struggIes with her
497
00:46:33,640 --> 00:46:37,633
but cannot convince her not to Iie.
498
00:46:38,600 --> 00:46:44,914
In the end he ties her to a tree and
sets her on fire, Iike Joan of Arc.
499
00:46:46,720 --> 00:46:51,999
I Iike this idea very much,
but I didn't make a movie out of it.
500
00:46:53,360 --> 00:46:59,151
Most regrettabIe is one scene
that I wrote together with my friend
501
00:47:00,120 --> 00:47:05,797
about someone...
502
00:47:06,800 --> 00:47:13,399
that Iooked for a pIace
where his mother was buried.
503
00:47:13,520 --> 00:47:15,909
He didn't know exactIy
where the grave was.
504
00:47:17,240 --> 00:47:23,588
With the tombstone in his trunk
he drove through a town,
505
00:47:23,720 --> 00:47:29,272
Iooking for the pIace and asking
the peopIe where his mother had died,
506
00:47:29,440 --> 00:47:31,431
in order to put up the tombstone.
507
00:47:31,560 --> 00:47:34,552
He doesn't manage to do it
and he drops off the tombstone
508
00:47:34,840 --> 00:47:38,549
at the first viIIage
cemetery he sees.
509
00:47:38,760 --> 00:47:42,958
And he imagines that she...
510
00:47:48,760 --> 00:47:49,795
A year before she died,
511
00:47:49,920 --> 00:47:52,559
my mother came to see me in Rome.
512
00:47:53,480 --> 00:47:55,630
I did not Iive here.
I Iived in the ParioIi area.
513
00:47:57,320 --> 00:47:59,356
She came onIy for a day.
514
00:48:01,600 --> 00:48:03,556
And towards the evening,
she toId me,
515
00:48:05,360 --> 00:48:06,475
''The night has come''.
516
00:48:07,760 --> 00:48:13,232
She didn't simpIy mean
it was the end of a day.
517
00:48:13,560 --> 00:48:16,836
She was probabIy
hinting at the end of her Iife.
518
00:48:18,240 --> 00:48:23,155
Now the night has come aIso for us.
519
00:48:23,320 --> 00:48:27,711
For this wonderfuI coming together.
520
00:48:36,880 --> 00:48:37,949
TeII me something.
521
00:48:38,840 --> 00:48:43,356
As soon as you get to Moscow,
what wiII you feeI Iike doing?
522
00:48:52,440 --> 00:48:58,072
I'II try to go to the viIIage
right away. I miss the viIIage.
523
00:48:58,360 --> 00:49:02,035
Larisa and I
bought a IittIe house there
524
00:49:02,160 --> 00:49:05,072
to spend most of our time,
525
00:49:05,200 --> 00:49:08,954
but unfortunateIy,
it's not working out.
526
00:49:09,120 --> 00:49:12,954
HaIf a year, about 8 months.
527
00:49:14,480 --> 00:49:18,234
It was the first time
I've ever Iived in a viIIage
528
00:49:19,480 --> 00:49:22,358
without going away, permanentIy.
529
00:49:23,160 --> 00:49:27,039
And I saw the whoIe cycIe
of this Iife.
530
00:49:27,280 --> 00:49:34,470
I was astonished, because I saw
that in the same pIace the nature...
531
00:49:36,240 --> 00:49:37,514
I was in a hurry at the beginning,
532
00:49:37,960 --> 00:49:41,032
I thought I was missing
some important things in Moscow,
533
00:49:41,280 --> 00:49:44,716
that I shouId go,
catch up with someone.
534
00:49:45,040 --> 00:49:49,556
Now I Iive on this Iand.
535
00:49:49,760 --> 00:49:55,517
There are many beautifuI fieIds
around our viIIage, many fieIds.
536
00:49:57,200 --> 00:50:00,431
And a very beautifuI Iand,
especiaIIy when cuItivated.
537
00:50:01,680 --> 00:50:06,674
When the wheat bIooms,
there are many white fIowers.
538
00:50:06,920 --> 00:50:11,198
In the dark it Iooks
Iike fog on the ground.
539
00:50:11,320 --> 00:50:16,758
It is difficuIt to teII
whether it is fog or fIowers.
540
00:50:17,360 --> 00:50:19,476
It is a very beautifuI view.
541
00:50:19,760 --> 00:50:25,756
BeautifuI soiI.
Wet soiI is vioIet.
542
00:50:26,200 --> 00:50:28,475
Dry soiI makes a noise
when you waIk on it.
543
00:50:28,640 --> 00:50:35,079
It reminds me of soiI we saw in
Taskania on our journey, remember?
544
00:50:35,200 --> 00:50:39,239
But it's aIso beautifuI
in Romagna.
545
00:50:39,360 --> 00:50:43,592
Up untiI I was 32,
I Iived in the country.
546
00:50:44,520 --> 00:50:45,999
It's beautifuI everywhere you go.
547
00:50:46,120 --> 00:50:48,031
The Iand is beautifuI
because it's the same here,
548
00:50:48,160 --> 00:50:51,709
in Russia and everywhere.
549
00:50:54,600 --> 00:50:55,828
I have written a poem.
550
00:50:58,280 --> 00:51:01,670
First, I'II read it in ItaIian because
otherwise you won't understand much.
551
00:51:04,960 --> 00:51:05,836
The buIIs
552
00:51:07,920 --> 00:51:10,115
TeII the buIIs to go away
553
00:51:11,240 --> 00:51:12,958
What they have done is done
554
00:51:15,040 --> 00:51:18,749
(repeats in diaIect)
555
00:51:20,240 --> 00:51:35,679
(continues poem in diaIect)
556
00:55:58,640 --> 00:55:59,390
Andrei!
557
00:56:00,480 --> 00:56:03,153
You have not toId me
whether you Iike my house or not.
558
00:56:05,400 --> 00:56:06,833
Yes, I Iike it a Iot.
559
00:56:07,640 --> 00:56:11,030
Yes, but I am sure you wiII change it
when you go to Russia.
560
00:56:12,400 --> 00:56:13,150
No.
561
00:56:14,680 --> 00:56:15,715
I Iike it the way it is.
562
00:56:16,760 --> 00:56:19,228
Oh, we pay each other compIiments
Iike some prostitutes.
563
00:59:07,880 --> 00:59:10,997
Read your poem in diaIect to me.
564
00:59:11,800 --> 00:59:12,630
Once again.
565
00:59:13,160 --> 00:59:13,910
Which one?
566
00:59:15,520 --> 00:59:17,476
The one about the coat.
567
00:59:17,680 --> 00:59:19,238
Ah, the one I toId you this morning.
568
00:59:26,160 --> 00:59:27,559
I don't know what a house is
569
00:59:29,120 --> 00:59:29,916
Is it a coat?
570
00:59:31,200 --> 00:59:32,713
Or an umbreIIa if it rains?
571
00:59:34,000 --> 00:59:36,878
I have fiIIed it with bottIes,
rags, wooden ducks,
572
00:59:37,000 --> 00:59:38,558
curtains, fans
573
00:59:39,840 --> 00:59:41,398
It seems I never want to Ieave it
574
00:59:43,000 --> 00:59:43,830
Then it's a cage
575
00:59:43,960 --> 00:59:46,758
That imprisons whoever passes by
576
00:59:47,960 --> 00:59:50,235
Even a bird Iike you, dirty with snow
577
00:59:50,360 --> 00:59:54,273
But what we toId each other
578
00:59:55,360 --> 00:59:58,830
Is so Iight that cannot be kept in
579
01:00:58,160 --> 01:01:04,349
TRAVELLING TIME
by Andrei TARKOVSKY
45996
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