Original subtitles

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.