All language subtitles for xxxyyyzzz00010.track_4608

Elementary, my dear
Watson. Elementary.

YOUR FRIDAY NIGHT SHOW

WITH A THRILL PROVIDED
BY DARIO ARGENTO

The victim is here, at this
table, and at this very moment.

And so is the killer,
ladies and gentlemen.

I tell you I have a feeling that something
strange is going on in that house.

- Really?
- More than strange, even.

I'm telling you once and for all that
the case has been considered unsolvable.

Thank God I found you! I'm not crazy,
I swear they're really trying to kill me!

So, what to say
about tonight's show?

I hope that we'll
have plenty of...

A scream?

Mystiria, come here, please.

I was warned that there are a
number of very important guests

in the attic of this house.

Mystiria, go take
a look. Please.

Hello.

Good evening.

Hello.

I've been involved
with the giallo genre

ever since I did THE BIRD WITH
THE CRYSTAL PLUMAGE.

I've directed brainy gialli, terrifying
ones, and even fantasy-driven gialli.

I've even made some
films full of viciousness.

Today, I'm a bit of a spokesman
for this wave of films that

are a bit more modern
than they used to be,

a kind of cinema that has become
more established in recent years.

I'll tell you a little bit about
both my work and my life.

Tonight, I brought some special
effects for arms and hands.

The first scene is
from PHENOMENA,

and it was played
by my daughter Fiore.

So...

This is the arm
seen in the scene.

It was made with mechanical
and electronic components.

Now you're seeing Stivaletti crafting the
hand used for that scene in PHENOMENA.

This is how the components were
applied to the latex hand.

And here is the scene
as it appeared in the film.

This is the fake arm that
just came out of the mold.

This is a small bottle that
contains the red liquid

that we use to simulate
blood, as you can see.

There are various shades
of it; this is number five.

Now that you have seen
the arm, the chemical liquid,

the tubes, and the latex,

you'll see how one can create

a very convincing effect
with these elements combined.

The scene is from TENEBRAE,
and the actress is Veronica Lario.

Whoever did
the opening for this show

was inspired by the house and the
character he plays in the movie PSYCHO.

The original inhabitant of the house
is therefore not Enzo Tortora,

but Mr. Anthony Perkins here.

Good.

So, Mr. Perkins, you have
acted in many nightmarish films.

However, you have acted
in movies of many other genres as well.

Your portrayal of the main character
in PSYCHO has gone down in history.

What is it like to play
the role of a madman?

Well, Norman Bates is certainly
not a bloodthirsty madman.

In fact, I believe he has only killed
two people in all the films in the series.

He kills the woman pretending
to be his mother in PSYCHO 2,

and a man threatening
him in PSYCHO 3.

The other murders are
actually done by his mother.

Do you think
that playing a character

with such intensity can
drive an actor a little crazy?

No, you have to be very
careful not to become mad.

When we go home at night,
after a day on a sound stage,

we take off our costume and rest so
that we can go back to work the next day.

We cannot identify
with the part.

I have a beautiful wife and children at
home. I would never want to scare them.

You have worked with many great and
brilliant actors, actresses, and directors.

Could you give us some names?

I can't, because every one of
them is a genius in this industry.

Some have discovered unique
ways to make the most of their abilities.

I don't want to make a
list of these genius people,

and I prefer to say that everyone who
has worked with me is a bit of a genius.

I also hope they'll find new ways
to bring out their inner genius.

What have you learned from
your turbulent adventure in the film world?

I hope I haven't
learned too much,

because the older you get, the
less skilled you have to become.

Too much technique can make us
actors work without heart, losing our soul.

The older an actor gets,

the more natural his
workmanship must become.

Yes, I agree.

How did you become an actor?

I became an actor because
the universe decided that

I had a talent for
communicating feelings to people.

As long as I remain an actor,

I hope I can maintain
the ability to externalize those feelings.

Sure. Mr. Perkins,
please consider me

a new member of the
Norman Bates fan club.

Goodbye, it was a
pleasure meeting you.

Help him, Coralina.

- Vampirius?
- Yes, sir?

- That didn't sound like a horse.
- No, sir. It was a wolf.

A wolf? A wolf in the attic?

A wolf in the attic.

Go and have a look
right away, Mystiria.

I apologize to
our esteemed guests,

but many people have
reported many disturbing events

happening in the
attic every Friday.

Why, no one expected
to hear a howl.

This wolf-like dog here beside me is
behaving perfectly well, by the way,

and has not emitted
the slightest howl.

Let's see what
happens in the attic.

Mystiria!

Dario.

Good evening, I'm Dario Argento.

Tonight, here in my attic, I
have many things to show you.

We're going to have
Pink Floyd as our guests.

Let's start by showing the most beautiful
special effects featured in my films.

You're about to see an
insect-related clip from PHENOMENA,

one of my most interesting
movies from the special effects side.

- You love insects?
- Yes, I love all insects.

Have you seen how much
patience it takes to make a fly act?

This was all the groundwork we had
to do for those scenes in PHENOMENA.

The insects came from a farm.

After several weeks,
or actually four months,

we had hundreds
of thousands of them.

That's the swarm.

We have a snake and
a few flies here with us.

For PHENOMENA, we
needed thousands of insects,

and it isn't easy to build them
due to their small size.

So the best solution
was to breed them.

As you can see, we
bred them on a sound stage.

There were hundreds
of thousands.

We had to put on
protective clothes,

not because those insects
were bad, just very curious.

Their numbers increased
dramatically from week to week.

You could say we had
unlimited quantities.

What happened
to all those insects?

When we finished, we opened the
sound stage doors and released them all.

Well done.

We used glucose for this bit; it's
the only thing that attracted flies.

Liquid glucose.

The actor's face was
covered with a rubber mask,

and using glucose was the
only way to attract the flies.

It was a difficult
scene to pull off.

Look at the actor.

Those were our beloved flies, as
seen in the special effects segment.

The event of the week in the entertainment
world has been the Pink Floyd concert,

held Monday at Madison
Square Garden in New York.

120,000 seats sold in
three hours, insane numbers,

and the concert almost coincided
with the release of their new record.

The album is called
"A Momentary Lapse of Reason."

I would like to tell you
the story of Pink Floyd,

partly because it
is a bit mysterious.

They peaked in the 1970s,

along with other legendary bands such
as The Beatles and The Rolling Stones.

One of the band's
founders, Syd Barrett,

went mad during the psychedelic
wave of those years and disappeared,

eventually becoming a legend.

In the 1980s, the band had
a major hit with "The Wall."

Roger Waters, another of Pink
Floyd's founders, left the band,

declaring that without him
the group was dead and buried,

and that a tour would
be meaningless.

And now, the band has made both a
new album and last Monday's concert.

You're hearing one of the tracks
from their wonderful new record.

Let's connect with New
York to meet Pink Floyd

at the hotel
where they're staying.

It's afternoon on the
American West Coast.

This is supposed
to be their hotel.

LIVE VIA SATELLITE FROM NEW YORK

That's the Ritz-Carlton hotel.

We're about to talk
to Gilmour and Mason.

There they are!

Good evening, Pink Floyd.

- Good evening. You made us...
- Good evening!

You have made us
dream for so many years.

- Welcome.
- Thank you.

Gilmour is on the left,
Mason on the right.

How does your
recent triumph taste?

EXCLUSIVE FOOTAGE

- Sweet.
- Sweet? Good.

- It's been a long time since "The Wall."
- A long time.

LIVE VIA SATELLITE FROM NEW YORK
In your years-long musical adventure,
what have you tried to chronicle?

What is your main goal?

Well, I think it's up to you
to answer the question.

It's a rather tough question.

We try to create music, I'd say.

Yes, of course, we
don't have a clear plan.

We wanted to make a comeback
with some new songs.

I believe you guys
have a plan, right?

No, no plan. Not yet, at least.

For a year?

For a year from now.

When we come back, we'll see. Now
we're going to take a long vacation.

We're musicians,
not politicians.

I disagree, musicians
are also political.

If they want to, they can be.

- But let's not talk about politics.
- Okay!

- We're musicians, first and foremost.
- Okay, Pink Floyd!

How does it feel to
live this great adventure

that will see you touring
around the world for a year?

So far, it feels great.

We're having a positive moment.

We can plan our future day by day,

and hopefully, we can
survive this remarkable year.

I know you guys really like
movies and soundtracks.

I know you have
worked with Antonioni,

and you have done things like
THE WALL and LIVE AT POMPEII.

Is it true that you like both
fantastic-driven and Gothic films?

EXCLUSIVE FOOTAGE

I don't know exactly
what that means,

but in a way we like
this kind of cinema,

because we have also
created soundtracks,

based on certain
inspirations, for these films.

Recording a music album is something
that is necessary and rewarding for us,

even on a discipline level.

It is a bit limiting to work with
someone ease's creative vision.

Can I tell you what the
newspapers said about your concert?

Yes, let's hear a few, as
long as they speak well of us! Of course!

The New York Daily News
says people can expect more smoke,

lights, and sound effects than
what they saw in PLATOON.

Critic Gino Castaldo of La
Repubblica newspaper said

you are the masters of
music-fueled imagery.

Alessandra Farkas of ll
Corriere della Sera wrote that

the most cathartic moment of the
concert occurred when Gilmour's guitar

dropped a shower of notes on the
frenzied audience.

ll Messaggero newspaper
said that yours

was one of the most
beautiful concerts ever.

What did you give your audience?

Tons and tons of stuff.

Extravaganza dominated
the whole concert.

We employed
lots of special effects.

We used some remarkable technologies.

It's thanks to seven years of development
that we were able to deploy them.

It was a big leap for us,

although it took seven years of
development to pull off all those tech stunts.

I see.

I know you will be doing two
concerts in Italy in June 1988.

You are eagerly awaited,
and it'll be a triumph.

Would you like to play a
little psychological game?

Nothing too challenging.

I would like to know about your
nightmares, recurring dreams,

obsessions, manias,
talismans, coincidences, lucky numbers,

as well as a place where you
would like to be right now.

Would you like me to repeat
the list all over again?

- One answer at a time, it's better.
- Do you have nightmares?

A nightmare of mine is that
Roger will rejoin the band.

Really? Such a cool answer.

Any recurring dreams?

- Recurring dreams...
- Recurring, yes.

No, I never dream, I act
out my fantasies in real life.

Do you have any obsessions?

Sure, but I won't tell you now.

- Any manias?
- Same answer.

Do you have any lucky
charms or amulets?

No, I myself am a lucky charm.

All right. Thank you,
the interview is over.

Thank you for all the
nightmares you inspired in me.

Nancy? Oh, I guess it
must be the White House.

Scotland?

I'm sorry, but for monster-related matters
you'll have to call upstairs.

Ready.

Good evening, I'm Dario Argento.

Five more minutes and we'll be
ready for the Loch Ness Monster.

Monsters are
usually very impatient.

This Friday will be full of
spectacle and excitement.

Last week, I showed you how I made
flies act in my picture PHENOMENA.

This week, I'll show you how complicated
it was to make crows do the same.

The scenes you will see are
from my latest film, OPERA,

which will be
released at Christmas.

We have two crows
visiting us tonight,

after last week's snakes.

The only thing I could not simulate
in OPERA was the flight of the crows.

I used real crows.
I had about fifty,

as well as electronic crows
and large mechanical ones.

Simulating their flight
was very complicated,

because of course we couldn't
attach a camera to the back of a crow.

They wouldn't
bear all that weight.

So I simulated their flight through the
device you will see in this clip.

This looks nice.

Crows look cute.

Now it's time
for our celebrity guest.

Last week, we interviewed
Anthony Perkins,

the star of the world-famous
picture PSYCHO.

Coralina says it's not scary
in the slightest, by the way.

Then we interviewed Pink Floyd,

who filled two decades
of our musical nightmares.

Tonight, we hope to meet
another famous and ghostly guest:

the Loch Ness Monster.

In the Scottish lake of Loch Ness,

several people have claimed
to have seen a monster,

and also to have
photographed it many times.

We sent Luigi Cozzi to Loch Ness.

He'll be our liaison to meet
the monster and hear its voice.

Unless we'll manage
to meet it in the flesh.

Luigi Cozzi?

Cozzi, can you hear me?

Yes! Hello, Dario!
I can hear you fine.

I'm here near the ruins of
the cursed Urquhart Castle,

in the far north of Scotland.

We are in Loch Ness, a lake
shrouded in the mystery of the monster.

This lake could be connected with the
North Sea through some underwater channels.

It is a huge lake of
more than 30 kilometers.

We are ready to carry out the
experiment you sent me to conduct.

We are going to lower
a special microphone into the water.

It will carry your voice
to the bottom of the lake,

and it will also enable us to pick up any
sounds that can be heard in the depths.

Perhaps we will be able to detect some
sounds of the mysterious creature

that lurks at the bottom of this lake,
the monster that everyone is talking about.

This is the very spot where
the monster was first sighted in 1933.

The microphone is being lowered
to a depth of almost 300 meters.

Now I'm going to interview
naturalist Adrian Shine,

the outstanding man
behind Operation Deepscan,

and who has been devoting
all his scientific efforts

for over ten years to solve
this lake-related mystery.

I want to ask him what
results he has achieved.

Adrian, what did you
discover here last week?

Adrian Shine said
that sonars have spotted

several mysterious
things at the bottom of the lake,

and three moving objects,

or rather one object moving in
the water in different positions.

So these are
three clear sightings.

We are the first television show
in the world to show the image captured

by a sonar at a depth
of 192 meters in Loch Ness.

The somewhat serpentine shape indicated
by the arrow is of the mysterious creature,

which is way larger than
a shark and slightly smaller than a whale.

The mysterious creature
that has been detected

three times at the bottom
of Loch Ness by sonar.

Very soon, Adrian Shine
will employ a mini-submarine,

similar to the one used
to locate the Titanic,

to find out what is at the bottom
of the lake and photograph it.

The technicians are signaling that the
microphone has reached the planned depth.

Everything is ready for connecting
us to the bottom of the lake.

- Back to you, Dario!
- Thank you, Cozzi.

Are you there, Monster?

Are you going to answer us?
Will you let us hear your voice, Monster?

Mystiria!

Mystiria, don't go
upstairs, come back.

I have a hunch that it's better
not to go up there tonight.

We're going to have
a lot of fun tonight,

and I have a lot of interesting trivia to
tell you, as well as a new "Nightmare."

I'll start with something
I already shared with you last week,

when I said that Coralina turns into a
monster in DEMONS 2. Let's watch how.

GIRLS KILLED BY DARIO ARGENTO #1

You're a real monster, Coralina!

This is the fake head
we created for the film.

It can make a number of
movements. Let's try it out.

Not bad, huh?

The authenticness
is pretty spot on.

The head can make other movements,
such as opening and closing its mouth,

as well as launching its teeth!

I also have a
behind the scenes clip,

which will show you
how the characters turn into demons.

The clip is from Lamberto Bava's DEMONS,
which I produced, along with its sequel.

SPECIAL EFFECTS

The footage is explicit enough
and needs no further explanation.

It was a really
convincing special effect.

Tonight, we have some very
cute mice among our guests,

as well as the crows and the giant
python we met in the previous episodes.

Well, what now?

We have some other
guests, if I'm not mistaken.

Our first guest is Mirella D'Angelo,
and the scene is from TENEBRAE.

GIRLS KILLED BY DARIO ARGENTO #1

Mi rella?

Mirella D'Angelo is here.

- You look so different, Mirella.
- It's the haircut.

- A short cut.
- Yes.

It's lovely. How did you
feel when you did this scene?

I was very confused. I was
interested in the details.

I remember there
was that white shirt,

and a menacing-looking
gentleman with a tube full of fake blood.

There was also someone else there, and I
was looking around at all these people.

- It was a bit of a strange atmosphere.
- Oppressive, too?

I wouldn't say oppressive.
It was very comforting.

- Were you scared?
- Not at all.

I was utterly terrified
of horror movies,

but when I worked with you,
I found a lot of joy and positive energy.

I took it as a game of sorts,
with no negative sides.

But doesn't the mental stress linger for
a few months after making a film like that?

No, because
working with you is fun.

You're always jumping around.
I had a great time.

It wasn't stressful in
the slightest, you understand?

With other directors
it wasn't like that.

I didn't even have
the fear of getting hurt.

I remember the actress
who was with me in the scene,

and I had to violently
throw a glass at her.

During rehearsals,
I was always hitting her,

and you told me that I shouldn't
aim so well and risk hurting her.

- No one should get hurt on a movie set.
- Exactly.

We pretend all the time.
It's a bit like being an illusionist.

- Too bad I always hit her with the glass!
- Why did the killer want to kill you?

Because, according to him,
lesbians are perverted and depraved.

- You played the role of a lesbian?
- That's right.

- Thank you very much, Mirella.
- Thanks, Dario.

Let's watch the second clip.

GIRLS KILLED BY DARIO ARGENTO #1

The clip you have seen is from
the beginning of PHENOMENA.

The actress is Fiore Argento,
who is here beside me.

How old were you
when you made the film?

I was very young, about
thirteen years old.

- Was it your first film?
- Yes.

Did you get nervous doing it?

A lot, especially in
the more challenging scenes,

like the one where
I run across the tunnel,

partly because I had a lot of
people yelling instructions at me.

- It was chaotic.
- Very chaotic.

Was having your father on set
comforting or did it make you more scared?

It's great to work with you, except that on
set we're no longer father and daughter,

but director and actress.
It was challenging.

- Was I being mean without realizing it?
- No, but you're demanding.

And what was it like to bang
your head against the glass?

It was fake, but it still hurt!

Have I ever scared
you in real life?

Yes, when I was very little,

you dressed up as the Befana
hag and it was scary as hell!

Thank you, Fiore.

I'M AWAY ON BUSINESS

"|'m away on business."

- Where are you, Dario? Dario?
- Hello?

- I'm here!
- Where?

- I'm in Rome!
- Why, good evening!

- Hello, Enzo!
- You kept us in suspense.

- I saw the little critters.
- You left the attic!

Why are you in Rome?

Because this week
I'm busy mixing and dubbing OPERA.

- OPERA?
- That's the title, yeah.

- I miss the pets, especially the mice.
- The poor things are crying!

- I'll come back next week.
- All right! Thank you, Dario.

I'll spend this week here in
Rome mixing and dubbing the film.

I can show you a clip that has
no special effects or nightmares.

Don't worry, it's fine.

I can show you something that is more about
filmmaking techniques than special effects.

- Would you like to see it, Enzo?
- Sure, is this clip from OPERA?

Yes, I'll show you how
we mix this scene.

- I'm so curious.
- I'll show you.

Now we'll show you
how the whole audio process works.

Okay, keep going-

That's the spot.
I want the music here.

Keep both the music and
her voice as soft as you can.

Good.

There.

Keep her voice high.

There's been a murder
at Viale Pegaso 24.

Keep the music soft
and tender. Good.

Change the music!

It shifts from Simonetti
to Brian Eno.

Let's see how it goes.

Careful with the volume.

Okay. Stop.

- Enzo?
- Yes?

- Can you hear me?
- I'm still here.

- This is Dario speaking.
- Where are you?

- I'm inside a small cafe on Via Tiburtina.
- Rome, it is.

It's a working class area that I like even
though there are no squares or boulevards.

It's a place that has
all the traffic,

bustle, and urban pace that
I find reassuring and familiar.

Dear Enzo,
tonight we have a lot of guests, clips,

segments, and lots more.
It's gonna be a thrilling episode!

Behind us you can see some
beautiful, giant common ravens.

- There's more, Enzo.
- Tell me.

- We are live. It's 9:32 pm.
- Yes, that's correct.

Shall we start with
the clips, Coralina?

Let's start with the clips.

LIVE FROM ROME

You know, having to scream
in a scene is always tricky for actors.

We all know how to scream, but
someone overdoes it, or makes a weird face.

It is tricky to scream the
right way, very much so.

I'll show you a few
examples of screams from my films,

which I think
are rather well-executed.

- Hello, Dario?
- Yes, Enzo?

I have a question that many
people ask me about you.

Sure, go ahead.

What do you eat at
night to get these ideas?

- You mean if I have nightmares?
- All your nightmarish visions.

You hear the crows? Maybe they
would like to answer your question!

I imagine such things
before I fall asleep,

but sometimes they
are cuter and wittier,

like the "Nightmare"
we'll see tonight.

What's next? Ah, now I remember, there
is a new segment, Enzo! Let me show you.

THE HARDEST ONES... #1

This segment is about the most
difficult shots I have attempted.

Challenging, wacky, or
more technically complicated.

The first one you will
see is from TENEBRAE.

THE SCENE FROM TENEBRAE

It took a week
to shoot this scene,

using a French
device called Louma.

The crane shot moves
around the building,

almost coming in through
the window, as if flying.

HOW IT WAS ACHIEVED

Now you can see what's
going on behind the scenes,

if you don't mind me
using some industry slang.

Behind the scenes footage
is also used to document

the most difficult shots
achieved during filming.

Let's change venue.
It's time for a "Nightmare."

We're about to see something
related to last week's "Nightmare,"

which was titled "Punk Nostalgia."

Some people
wrote and called RAI,

both to say it was too extreme,
as well as to praise it.

I'm sorry if it upset anybody.

I can tell you that the gore effects were
made of latex, tubes, and weird liquids.

I have some backstage footage to reveal
how the special effects were made.

SPECIAL EFFECTS

Go, Annalisa!

Keep going!

Don't stop, keep
going! Squeeze them!

One move and
the guts will fall out.

First take!

Open it! Open it!
Open the stomach!

Do it! Full force ahead!
Keep it open now!

Cut!

- Are we on air yet?
- Yeah.

- We are always self-sufficient.
- Yes.

Tonight we have a
bunch of exciting new stuff:

auditions, one of my "Nightmares,"
and two wonderful guests.

We are going through
a lot of corridors,

hoping we won't
get lost in this maze.

We're almost ready, Coralina.

So let's begin with a behind
the scenes clip of OPERA,

my new film that will be
released at Christmas.

Check out how we pulled off
this tricky and challenging scene.

A PREVIEW OF OPERA

THE SCENE FROM OPERA

OPERA'S SPECIAL EFFECTS

THE SLOW MOTION BULLET

THE SCENE FROM OPERA

We're still walking but
we're getting real close.

You have seen how that scene
from OPERA was made,

and I'd like to tell you that I have
received many appreciative letters

for my segment about the
girls killed in my movies.

We've made a follow-up,

which is still a retrospective
on those young,

pretty actresses who came
to a bad end in my films.

Before watching the clip,
I want to have a glass of milk.

I'm glad there's a
vending machine here.

I see a sign pointing to Studio 3,
so we're very close to our goal.

The clip we're about to see is from
TENEBRAE, and the actress is Lara Wendel.

GIRLS KILLED BY DARIO ARGENTO #2

KILLED GIRLS #2

That clip from TENEBRAE
was quite striking, I think.

Now we're going
to meet the actress.

- Hi, Lara! How are you doing?
- Fine! Hi, Coralina!

You are very beautiful.

You were pretty even when
you appeared in my film.

- How old were you at that time?
- 17.

Wow, you were so young.

When did you become an actress?

I was five years old when I
first began acting in commercials,

and I started working as a
lead in films when I was 11.

Great. Let me check how my
"Nightmare" is coming in the editing suite.

May I come in, guys?

How's the "Nightmare" coming?

Everything good?

How you doing, Mystiria?

I'm in your hands.

Lara, do you think it's difficult
for a young actress to get by

in a wolfish environment
like the film world?

No, I act as a source of amusement;
I've never treated it as a job.

I mean, it's a job, but I
basically have fun doing it.

- Do you?
- Yes.

What was it like to be killed in
my movie? Was it difficult?

- It wasn't painful.
- Is that so?

- Were you scared of something?
- No, not at all.

Not even during the
most dangerous scenes?

Only once, during
the scene with the dog.

- The Doberman?
- Yes, the dog left a mark on my arm.

- Let me see.
- It's barely visible, though.

Yes, I can see the tooth mark.
So you were bitten by that big dog!

- All the best, Lara.
- Thank you.

You still have the sweetness in your face
that you had when we worked on TENEBRAE.

- See you.
- Bye.

I feel that I'm getting very close
to Studio 3. I can already see the lights.

Now let's move on to our
second guest, Fiorenza Tessari.

She played a role in PHENOMENA.

Enjoy her scene.

GIRLS KILLED BY DARIO ARGENTO #2

KILLED GIRLS #2

Here I come.

I'm finally inside Studio 3.

I managed to find my way
through this maze of corridors.

Hello, Fiorenza, how
are you? Are you all right?

Meet Fiorenza Tessari, the girl you saw
killed by a spear through the mouth.

Now we are passing
through a shortcut,

but let's take it slow and easy.

Tiptoe.

We're still passing
through the shortcut.

- What time is it, Coralina?
- 9:45 pm.

It's 9:45 pm, and we are live.

Good evening, people.

Look how cute
these little mice are.

- Sorry, I sat in your place.
- No worries!

Can you explain
how we pulled off

the visual effect of the spear
coming out of your mouth?

- They made a fake torso, up to here.
- Yes.

They laid it on the window,

cut a hole
in the back of its head,

and that's where they
put the spear through.

" Really?
' Really!

- Did you get hurt?
- A little.

- Really? How?
- I got a shard of glass in here, remember?

- That's right!
- And then I got a bump on my butt!

So you were in pain
when you made the film!

- How old were you?
- 14.

- You were pretty young.
- Yes.

What are you
doing at the moment?

Just yesterday, I finished working
on a film for RAI. Oh, boy!

- Are you afraid of crows?
- No, they're beautiful!

The film stars Turi Ferro and Virna Lisi,
and it's directed by Giorgio Capitani.

Yes. You turned 18
a few months ago...

- No, it was a year ago.
- One year ago.

Then you got married.
Why get married so young?

I got married for love.
Pretty classic.

- Yes?
- Yes, a deep love.

What is marriage like when
you get married so young?

It's beautiful,
the most beautiful thing there can be.

- Your husband Alberto is as young as you?
- Yes, he's young.

Is it true that you
work together as fashion designers?

- Yes.
- Tell me more.

We have a line called
Perspectiva Nevski.

Oh, like...

Alberto always scolds me
for never saying the name!

- You're graceful and humble, Fiorenza.
- Thank you.

- Goodbye.
- Thanks, bye.

Lara is here, too! Hello!

You caught up with us.
I came out of that maze myself!

I know you appeared in
Fellini's film INTERVISTA.

- Did you see it?
- Yes.

- I played a newlywed.
- What else did you work on?

I made two films in the
United States, two thrillers.

One in Boston, directed
by Umberto Lenzi,

and one in New Orleans directed by
Aristide Massaccesi.

I also did UN'AUSTRAL|ANAA ROMA
by Sergio Martino,

which will be broadcast
on RAI at Christmas.

Nice. Are you
engaged or married?

- Engaged.
- Awesome, congrats!

- All the best, girls, goodbye!
- Thanks!

Hey, Mysti ri a!

Ready to roll, Dario!

Good evening.

Good evening, this
is our last episode.

Let's not get nostalgic;
everything has to end sooner or later.

For this last show, I wanted to do an
overview of all the strange things and

the most interesting guests we have
shown you in these 15 episodes.

Hey, I hear some familiar music.

During this segment, we'll
hear music from my films.

We will also have guests who
have never appeared on television before.

Let's get started right away!

Coralina has been
helping me all these weeks,

even in somewhat
hair-raising situations.

Coralina, why don't you tell
the audience your full name?

Coralina Cataldi-Tassoni.

There, the mystery
has been revealed.

- This is my new friend.
- What's his name?

- His name is Incubus.
- Hello, Incubus!

Let's start right
away with the special effects footage.

The first one will reveal
how the special effect

of the ghost cab
was accomplished. Enjoy.

SPECIAL EFFECTS - THE GHOST CAB

SPECIAL EFFECTS

Keep going.

And now I will show you two
special effects from my "Nightmares."

The first is the Santa Claus
from the episode titled "Sammy."

SANTA'S NIGHTMARE - SPECIAL EFFECTS

It's you, Santa Claus.

Who did you think I was?

I don't know. A monster.

Like this?

Okay, looking good.

Attention.

Action!

"|t's you, Santa Claus."

Who did you think I was?

"I don't know. A monster."

- I don't know. A monster.
- There. Good.

Don't drag out the words too
much when you say "I don't know."

Keep it simple, speak softly.

- Try again.
- "I don't know."

- "The monster."
- "The monster."

Well done.

Action!

Perfect.

Yeah, more wicked.

Good. And now, you'll
see the special effect of

a giant mouth swallowing a dog,
from another "Nightmare."

THE MOUTH NIGHTMARE - SPECIAL EFFECTS

Move your mouth.
Show how scared you are.

Thanks.

The music you are
hearing is from my films,

including OPERA,
PHENOMENA, and SUSPIRIA.

Speaking of sounds and music,

I've never shown you how sound
effects are made.

Now you'll see a clip
about the Angelotti brothers,

the Foley artists
I always work with.

SOUND EFFECTS

HOW THE SOUND EFFECTS OF
A KILLER'S FOOTSTEPS ARE CREATED

Louder.

Sounds good. Beautiful.

THE SAME FOOTSTEPS
AS HEARD IN OPERA

STABBING
SOUND EFFECTS

- Louder, please.
- Okay.

- Plunge it more.
- Sure. One second.

Careful. Ready.

Nice one.

Great.

THE SAME SOUND EFFECTS
AS HEARD IN OPERA

MORE STABBING SOUNDS

Ready.

Now we're going to talk about
one of our most popular segments:

the TURNO DI NOTTE episodes,
a series about two young taxi drivers,

with the help of Inspector Argentini, and
their nocturnal adventures around the city.

A series full of giallo elements:
action, danger, chases, and crime.

It's a series that has
intrigued a lot of people,

and I'd like to introduce the
two directors of all the episodes.

One is Lamberto Bava, who directed
the first six episodes.

- Good evening, Lamberto.
- Hi.

The other director is Luigi Cozzi, who
directed the remaining nine episodes.

It feels like a class reunion.
Lamberto and I know each other very well;

we've worked together several times.

You come from a dynasty of filmmakers.
Your father was the famous Lamberto--

I meant to say Mario Bava.
I made a Freudian slip.

Mario Bava directed the
first Italian Gothic films.

What was it like to
make TURNO DI NOTTE?

We always worked at night,
as you can tell from the title.

We had impossible hours and
the need to get everything properly lit.

Besides, giallo
is not an easy genre.

Is it difficult to make
15 minute-long gialli?

You have to be careful
with the time available,

and in some respects it's a more
enjoyable process because you have

to flesh out the stories by
telling them in a shorter amount of time.

Can you make fast paced,
free and exhilarating films,

like the ones we make for the
movie industry, on television?

I think so, and I hope people who have
seen these episodes will think the same.

I know you're preparing a
new sequel to DEMONS.

Yes, and you know that too!

That's right, and it's
coming out in October.

Let's talk to Luigi Cozzi.

Luigi has also worked
with me plenty of times.

Luigi is a great expert on giallo,
sci-fi, and adventure films.

- You've written books on these subjects.
- Yes.

- Right.
- A few books.

Can you make movies on TV?

I'll leave that up
to the viewers,

who have watched our series
and will see the last episode tonight.

What was it like working
on TURNO DI NOTTE?

I know that each episode
was a bumpy ride,

partly because you shot at night in
dangerous neighborhoods. What was it like?

It was a nocturnal, nightmarish adventure,
just your cup of tea.

- Did you only shoot at night?
- Yes, only at night.

You're a pack
of nocturnal animals.

Do you think there
is a difference between

the first half of the series and the
second half?

Yes, mine had more fantastic
elements, while Lamberto...

What about you, Lamberto?

I chose the actors, and I wanted
to make some edgy giallo stories.

Don't assume that people who work in the
film industry are one big loving family.

We fight a lot, and
we hate each other.

We are different from what
stereotypes might suggest.

Now let's look at the most important
thing, the cast of TURNO DI NOTTE.

- Our first cast member is...
- Antonella!

- Calypso!
- Yes, Calypso!

Our famous Calypso!

That's what your friends
call you now, huh?

- What is your real name?
- Antonella Vitale.

I know you're a great driver.

Where did you
learn to drive so well?

By stealing my father's
car when I was younger!

Really?

- I would do it sneakily, behind his back.
- Way to go, Calypso.

Was this TV series an
important experience for you?

Yes, definitely. It was awesome.

- Really?
- Yes. Very exciting.

- What's it like working at night?
- Dangerous as hell.

- An adventure?
- Yes, pretty adventurous.

We had some strange encounters,
but it enhanced the vibe of the project!

All right, Calypso.
Let's interview Matteo Gazzolo.

- Here's Matteo!
- He drives the Red 27 cab.

— Hi.
- Hi!

You're almost a first-timer, even
though your last name is famous.

Were you born
into an artistic family?

Gee, I'd rather you answer that!

- What is your father's name?
- Nando Gazzolo.

See, I said
you're an artist's kid!

What was doing the series like?

It was a fantastic adventure
from beginning to end, partly because

we were shooting at night and also
because we were making a TV series.

What did you learn
from this adventure?

I gained an insight that made
me more capable in my profession.

We had the opportunity to check and
improve our performance from week to week.

Of course. Were you ever genuinely
afraid while filming these night episodes?

At times we didn't
feel super-safe,

because we were shooting at night in places
that weren't really advisable to visit.

All right. Thank you, Matteo.

Now here is
our last interviewee,

Stefano Di Sando,
who plays Inspector Argentini.

- There's a clip about your character.
- You got my last name wrong.

- You're right, it's Stefano DE Sando!
- Everyone always gets it wrong!

We're watching a
clip about Inspector Argentini,

a personable and modern policeman,
not much of an old school fellow.

Before working on this series,
what other roles have you played?

I worked mostly as
a stage actor.

I had wonderful experiences
with some major drama companies,

working with legends
like Vittorio Gassman.

I also worked on television,
but this experience was really special.

Were you inspired by any already
famous characters to play the inspector?

No, I wasn't inspired by
any celebrated character,

also because it is often
Antonella and Matteo who solve

any dangerous situations
during the episodes!

But I would like to mention the great
Gino Cervi and his portrayal of Maigret,

or Peter Falk as Columbo.

Although I must say that,
on a physical level, it is perhaps Kojak

who is the character that I
can remind the audience of!

- Kojak, huh?
- Yep, we share a physical characteristic.

Since you played a
detective in the series,

do you think the mystery
plots were difficult or easy to solve?

They were good, sometimes
easier and sometimes more challenging,

but the atmosphere
was perfect for the genre.

All right, thank you, everyone!

Don't be too sad about
the end of the series,

even if your stories have
now vanished like a dream.

If the audience wants it, you will return
to scurry the city in your yellow cabs,

uncovering new crimes and
catching new culprits.

We look forward to
your return, audience willing.

Thank you.