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Well, I'm Vincenzo Alfieri,
director and screenwriter

of the film and I'm here with
Giuseppe Stasi, co-writer.

Co-writer.

Hi Giuseppe.

Hi Vincenzo.

Are you happy to be here?

A lot, it's a first
time I must say.

Maybe the last one because
they will disappear Blu-ray.

No come on no.

But not cinema,
cinema is comforting.

Well, it's very nice to be able to
comment on your own film I must say.

This is a phrase from Noiz Narcos
even if we couldn't put it in writing.

But I sing to the song.

To Federica's book.

Of Angels, yes.

Now, seeing this first scene makes me think
about when you proposed it to me there

first time telling me,
I thought we could

starting with a dead
sheep, maybe bullshit.

I said wait, tell me
about it for a second.

Do you remember?

Yes yes.

Because there was a whole biblical
legacy on the subject, the lost sheep,

the sacrificial lamb, there were a whole
series of symbols, even a little obvious

but in short, among other things it was linked
to a true story because Federica herself

Angeli told us that the
brothers White people had killed,

they had trained,
killing a sheep.

In reality, for me this scene
was immediately beautiful.

We never touched on
the prediction in the script,

it remained almost identical
to how you originally wrote it.

I liked it because it represented me,
apart from Willy of course, but this flock

which are the peoples, the people, observed
by the canes which are the Dell forces

'order, clearly undersized, even a little
helpless in the face of what he is facing

happens in front, and this figure of
this elderly man who reluctantly in short

interacts with the young intent, to
know the facts right on your cell phone,

but he is the only one who noticed
that a sheep was actually missing.

And the boy spontaneously
searches for her and when he finds her

he realizes what has
happened, that she is dead.

Which is kind of what the movie is about,
that is, when you are a teenager you don't

think about the consequences
of projections, you feel immortal.

We've all felt it, even though we're
40 now and remember what it was like.

Even if it is an order that
is imposed, let's say, give...

by those who should be the
guarantors of discipline, of order,

which are the parents,
the school, the institutions.

Then inevitably we get lost.

But getting lost isn't necessarily
a bad thing, but clearly

Outside that fence there
is a world unknown to us

precisely it leads us,
as in this case, to death.

Here it is.

Certain.

So... And it's Bella
because this scene, once

seen and understood, you
understood the whole film, let's say.

Yes, there's the theme.

There is the theme
of... Oh, the Alka-Seltzer.

This is very important, because
this represents a lot of me.

The reflux.

My digestive problems.

My reflux.

We wrote the character
about my reflux.

The real marshal didn't have
reflux, because if I were to ask...

No, but it's a common problem.

After 30 years it becomes...

Among other things we did Neapolitan,
because I'm Neapolitan, in short...

But that's the element that...

Personal.

A bit of a trademark, the brand.

Exact.

I always have to put
Neapolitans in my films.

And here is the great
Francesco Di Leva, obviously.

Francescone.

Who just took a shower, even if
we don't see it, because the truth

marshal had actually done it

shower that night
and couldn't sleep.

He went to bed with his wife and asked him where
his children were who had gone out that evening.

Yes, because then we are
talking about a film anyway

made in 2020, immediately
after the post reopenings... Yes.

Post-lockdown, so let's say that going out
in the evening was almost a vital necessity.

Here you are.

Exact.

And anyway the point of it all is that
their son could have been one of those

involved, he could have
been there instead of them.

That is, in fact, the main
concern is precisely this.

In short, the moment we look at the
tragedy for a moment, it disappears

tragedy, the concern
is for one's own child.

Yes.

Also because it is a film, in this sense,
multistrand, because we have parents and

children and different parental figures and
different, let's say, adolescent figures.

More obviously, in fact, the
representatives... the shepherds, that is.

By the way, by the way, one thing I
really like about this scene, which is that

what really happened is that
the marshal actually lived there

in the barracks above the small
square where they killed Willy.

Yes, this... This
thing is horrifying.

Yes, yes, yes, exactly.

They are in defiance of the rules,
even to justice, these have killed

a boy filmed by cameras
under the Carabinieri barracks.

Parking on the driveway pass.

Parking on the driveway
pass, that is, truly terrifying stuff.

And here is the first view of... precisely,
at the end, among other things, because...

Yes, because here we are
at the end, then we go back

and here, oh well, the
draft was truly exceptional.

Among other things, in this scene
he had difficulty acting, I had to stop

filming because many of the actors,
as many know, they are not real actors

but they were taken from the street
and were so desperate and in tears

that he told me something like
this has never happened to me.

Because I'm used to actors, these
are... they are experiencing this scene

so profoundly that I
can't act, I need time.

And it was the only
time on set that I was too

I was moved and
made me want to cry.

Yes, actually.

Because when I saw a pre-assembled
one I was very impressed.

The amalgam between
Francesco, a man, is incredible

professional actor,
and these guys who...

some had actually done nothing,
others however did small things,

but it's incredible.

It's all perfectly mixed.

And they are all inside
the emotion that...

That is, you don't make a distinction
between professional actors or not?

No, you wouldn't.

Perfect.

And then he enters the bar where the Bianchi
brothers apparently were spotted then,

Pincarelli and Belleggio, or
rather the actors Of the murder.

That this thing is
beautiful, he offered coffees.

Oh yes, in fact the strategy
adopted by our marshal was great

example of police
strategy, let's call it that.

And when I spoke to
him he told me, if I came in

with the gun in uniform,
there was panic there.

And he told me, I wanted... I come from
there, I come like them, from the country,

so I know how they think, I wanted to make
him understand that it was a calm situation

to be able to take them
safely to the barracks.

That is, he invited them,
he didn't bring them.

He invited them, yes.

And they went there
too, understand?

Think how smart they are.

In your opinion, objectively, is
there anyone stronger than you two?

That provokes them a little.

Yes.

Among other things... And
here they come, they are crazy.

Yes.

Among other things, they
were taken from the street.

Luca... At the
stadium to be precise.

Luca at the stadium, this
one with the tattooed neck.

Giordano, the youngest,
is a professional boxer.

And Barman, we found in a gym.

Here is the wonderful
effect of cinema, because

they are not very tall,
but they seem a little big.

They look huge.

No, they're actually a little
taller than him, but, well,

higher shoes, lower shoes,
you know, footpegs, things.

They seem bigger.

Yes.

It's done.

There is a large borello that has
begun to peek behind, nodding its head.

And here's the look, I
have to say, this Versace.

Yes, exactly.

A little Versace.

Well, we, I with
Cristina The Word, the

costume designer, we were
very inspired by the truth.

We saw how they dressed, in
ways perhaps even more unlikely than

this, with hair always colored
differently, so, let's say...

Then it's not like we made a
documentary, it's still inspired, though.

..

But, in short, this is
the great idea of the film.

Yes, however, adopt
this... That is, that...

Then, among other things,
I recently saw L'Odio di

Kassovitz, who in some
ways has enormous affinities.

Speaking of the sheep scene for a
moment, there is the Sighting scene

of the cow, the wet nurses,
by Vincent's character.

But there the structure is
more Hollywood, that is, it exists

a staging almost
like a Hollywood film.

This approach is
different, this is a more...

of France which was
renounced by Kassovitz.

It's that of the brothers
Dardenne, so more... Maybe.

...neorealist.

We're complimenting
ourselves, like this.

No, no, but seeing Hatred,
maybe it's probably a movie

who worked so hard
inside it that it came out.

Can be.

In some way.

Here, seeing this first image, I
think about the heat of that day.

We shot... So that's
not a tear but it's sweat.

That actually… yes, exactly.

No, it's a fake tear.

But, lo and behold,
this day was terribly hot.

And I think it helped
Francesco Chechi,

the actor we see on
stage, who plays Maurizio.

Depressed because
the girl blocked him.

Because it was true,
actually... He also fixed it.

He fixed it.

The real beauty had
been fixed by the girl.

He had broken up and he was
desperate to find another one.

Or he was desperate
to find her again.

Or to find her again.

This is our free interpretation.

So where did you shoot?

This is the Banditaccia in
Civitavecchia, an incredible place.

It is one of the largest Etruscan
tombs, I believe, of Europe.

I think they shot that scene too

wonderful about where
deaf people go on holiday.

I believe it is.

Yes, because I think
there were photos there.

Besides, they also
feel like... maybe

there is an unconscious
reference to that scene.

Could be.

Also because we have
written this scene many times.

Probably yes.

Changed several times.

First it initially had to be...
it's the Colleferro subsoil.

It was the Colleferro subsoil.

Where the shelters were.

Of the war.

Of the war.

He took them on a
tour inside the shelters,

but at a certain point he
almost let a veggio die.

The hypogea.

The hypogea.

Yes, yes.

That the phone call came to him.

Instead here...

In fact, precisely because the subsoil
of Colleferro is made of pozzolana.

I remember that for a
moment we thought that the

Maurizio's nickname
should have been Apozzolà.

Yes.

A somewhat Basolinian legacy.

Yes.

And here there is familism.

He works... because his
uncle placed him there.

Exact.

Exact.

He is very good.

He's crazy.

He is very good.

What's his name?

Oh what... I remember.

But I have to say that my relationship
with him on set was difficult, because

this scene I, like all
the scenes in the film,

I wanted it to be
as true as possible.

And I think I did 25-26 Chucks.

And he couldn't take it anymore.

He was loud and really hated me that day
because he didn't understand all those Chucks.

And why... I really wanted to see...
But you can sense that resentment.

More the heat.

Here, this scene you see Enrico
Borello, Extraordinary actor, awarded too

during the Rome Festival, in
this quarry that Cosimo makes.

Here they did, I'm not
joking, almost 50 degrees.

Because we are inside a real
quarry Tivoli, outside Tivoli.

And we were - there are
people who fainted and felt sick.

But he is an incredible character,
because then we will see during the film,

unlike everyone else, as we are

say with you, he
shouldn't have had a family.

He is truly without anyone.

And he works, because the real Pincarelli
declared that he worked all the time

week, solely and exclusively to be
able to get drunk on the weekend.

It is true.

And we see him in this
scene completely annihilated.

And he sees it then
that the siren sounds.

Exactly, the sound of the siren,
the nineteenth-century sound

of the mermaid, as you
described in the script.

Twentieth century.

Twentieth century
for him, sorry.

It's actually a salvation.

Oh yes, it means that... That
he can go and get drunk, in fact.

They did it.

In fact, look now.

Yes, because initially he
worked in an arms factory.

Because there is an arms
factory there, the Colleferro.

You see, on Saturdays he drinks it, tonight I
should find myself on the floor, because for these

people, like Cosimo, many
are like that in the countries.

We come from provinces
very similar to Colleferro.

For some it is the
fundamental thing.

Drinking all weekend
and destroying yourself.

Work is just a means
to destroy the weekend.

This is the real, I think, this thing about
Pincarelli who did not have a driving licence.

This thing was true.

And it was true that Maurizio took it upon
himself, he was a slimeball who took on a

everyone, in Paliano, in
Artena, to find the passages.

In reality this is
our poetic science.

In reality that day they
went in separate cars.

But this scene...
Yes, it's true.

This scene is a lot Beautiful
because it sects a lot

their characters and
see this relationship...

That is, there is
the means of luck.

Exact.

Then he also gave you this thing
that he does at a certain point now.

Because clearly there is a
relationship of mutual dependence.

One cannot do without the other.

It's a toxic relationship.

The one to feel like
a leader in some way,

the other to delude himself
into being a leader tomorrow.

Exact.

But also because it
belongs to someone.

Because Maurizio dreams of
being... A character of suns, basically.

Totally alone.

And I always say it.

Many who have seen
the film think that i

protagonists are the bad
protagonists, the Whites.

Then let's be good Willy.

In my opinion the two of
them are truly shades of

much more despicable evils
than Whites in some ways.

Because Whites are
straighter, you understand them.

Characters like them
are devious and conniving.

Yes, but they agree.

They are clearly scarier.

They scare me more because I
don't know how to record them.

This thing about the little boy on
the bicycle, the inspiration came to us

while we interviewed
Willy's friends a Paliano.

I don't know if you remember.

Certain.

There was this little boy
hanging around the Fountain.

We sat on a bench
for two hours and...

this kid did nothing
but shoot for two hours.

There was nothing, a
breath of wind, nothing.

There was a lady
looking out the window.

Like here for king.

And this little boy was going
around, going around, it was spinning.

And at a certain
point he asked us if...

Did we want a ticket?

A lottery ticket.

Paliano lottery.

By Paliano.

And you said, I
don't believe in luck.

And he looked at you and
said, do you remember it?

Maybe luck can believe in me.

Exact.

I mean, I think of such a small
bored child who told a great truth.

But it sold me very well.

It sold me very well.

But I didn't buy that ticket.

It's because you're an asshole.

Oh, I know.

But this one, tell me,
was obviously alcoholic?

Or was it water?

What was it?

No, this is a real beer because
I wanted him... A small town.

This one is from Molaus.

Yes, I wanted him to
feel like he was the part.

This scene is incredible.

We can say this.

And here is the first seed towards the
madness that will happen in the film, right?

Because... There's something
erotic about this pat here.

But actually in the film, if
you think about it, there is in

many characters have a
somewhat erotic relationship.

Yes, but not related
to... No, no, no.

I don't see it as
a sexual thing.

No, she's tied up...

That we males have a lot of relationships,
on some occasions, or some us,

very crypto-homosexuals,
you know what I mean?

Yes.

We are tied to dependencies
between us sometimes that...

Which we don't pay attention
to, but which are evident.

Certain.

Hague!

They are fantastic here.

Yes.

And here is, Maurizio, his aspiration
to be part of the White group.

Did they kick him out?

No, what do they
have... Yes, no.

I want to make you
My way, understand?

Remember, I cut here.

Yes, yes.

In fact he was always talking bullshit in
the movie about how he broke his arm.

Everyone said
something different.

It is true.

Like Batman's Joker.

But then we cut it
due to time constraints.

In the first draft there was
even... the way in which...

Yes.

He breaks his arm.

While training the
kids in the gym.

No, it was a...
Karate competition.

No, it wasn't a vertical
climbing competition.

It was a vertical
climbing competition.

Yes, yes, yes.

Because the real Maurizio
was also a karate instructor.

Here, okay, we don't see the twins
because, let's say, the film, as we told us

many times, it is not a violent
film but it is a film about violence.

And today to talk about the violence,
in a company absolutely dedicated to

pornography, of violence,
anesthetized due to social violence,

we decided never to let it
be seen but to let it be heard.

So the twins come in here and not... you understand
what they are about to do but you don't see it.

The poor man is a bit
of a village idiot Maurice.

Yes, let's say, he is constantly
harassed by everyone.

That graffiti was already
there, but you did it.

We did it.

You did it.

And here he is observing a
friendship different from his.

A different friendship.

An accomplice friendship that
he dreams of but cannot have.

In some ways it is a
first piece that makes yes

that maybe this poor
Willy was already hated.

Well yes.

That meeting
with... With Michelle.

With Michelle.

Well, shotgun actress,
extraordinary actress.

Truly a girl of
unique acting quality.

Here, humanly.

Yes.

I've seen her a few times.

No, I have to say, I was
very lucky with the cast.

Truly all incredible.

But we chose female names,
I have to say, questionable.

Interesting, yes.

Oh well, but look,
they are current, eh.

Luana, Michelle... Rossella, come
on, Rossella is here to normalize things.

Which is My sister and your mom.

The reason we gave this name.

This scene that I care about...

Because it represents the...

Toxicity.

Which we talk about
males every now and then.

It was a point of
argument on set.

But quarrel, good, in the sense
of discussions with the producer.

Because he didn't
understand all these tight plans.

It's Francesco who says...

No, no, the producer,
Roberto Bravo.

Oh, okay.

He didn't understand why I
had to stay so close to the actors.

And yet the audience, in this
scene, manages to understand

really what's behind
Maurizio's eyes.

Behind Luana's eyes.

This touching.

This detail their looks.

Their mouths.

Their microimperfections.

But also physical imperfections.

All this makes them human.

And you can understand
what is happening.

Without even needing
too many words.

If I turned off the
sound right now.

Let's see the scene.

It would work.

It's already a bit like that.

Because we are talking above.

So I'm focusing on
the details a little bit.

On the images.

I mean, in fact,
it gets to you...

Exactly this kind
of... relationship.

Just as you are describing.

It's a bit like fatal
attraction in reverse.

A bit of fatal attraction.

Then I mounted.

I am the editor of the film.

For those who don't know.

This montage.

Even so.

Frantic.

Sometimes unpacked.

On the same axis.

Because I'm a Soderbergh fan.

And some montages.

Let's say so.

Incongruous.

If we want to find an end.

Because I'm 25 years old.

And the count is 1,150.

Because if it's boring.

If it is listened to.

If it's fixative.

If he wants some shitty slime.

The folds.

The wrinkles.

The face.

Yes.

These thrills.

Him, yes.

It's a gift to give to an actor.

Minimal facial landslides.

Well, you really
appreciate his work.

Let him observe
it from the inside.

And I must say, accompanied
by this great breakfast.

But, I, I have never heard a
sound of Alessandro Bencini.

Because now it starts...

the opening of the piece that
makes me fly with him on a bicycle.

Very nice.

This scene is gorgeous.

Among other things, think that this was the
audition that Alessandro Bencini gave me.

When I asked him...

I mean, give me an audition.

We understand how the
music age of the film can be.

AND...

We talked a lot.

Because he couldn't find a key.

At a certain point he told me
about some of his personal things.

Very personal.

In short, a bad thing
that had happened to him.

And I said to him... Okay, why don't
you rewrite the piece with that in mind.

But also talking about you.

That Alessandro is also
a very hopeful person.

Despite personal tragedies.

He's a really positive guy.

So I told him...

Why don't you write a piece that
has the drama of positivity within it.

And he came up with this piece.

Indications that
have borne fruit.

At that time...

Uncle Flavio called me.

Then there is this figure of
fathers who are a bit absent.

Aside from Di Leva's character,
who in any case is also a father.

Which are absent or
completely useless in this film.

But if you think about it, we've
written a nice balance on this too.

That you have Di
Leva and chef Tokai.

Who is a father figure.

Which are very present.

However, Maurizio's
father is visually absent.

And the twins' father
is physically absent.

Mentally.

I really like that cuisine.

It's very true.

Even the door... I wanted
it all to be very real.

The set designer Elisabetta
Zanini did a truly extraordinary job.

It all seems so
tangible and concrete.

These are cuisines
that we've all seen a bit.

This scene is truly terrible.

Because think of a
mother who says...

We are not intelligent people.

Smart but not smart.

Yet we made you as if
you were the son of cousins.

There's this phrase that says...

Oh well, then there is a
relationship with animals.

We want to say this I think.

In the film there is a great
relationship with nature.

Nature...

Because with irons the thing that
impressed us as soon as we went to see it.

It was that you arrive.

In this valley.

Also beautiful.

Here is a great quote
about Gheghi's right arm.

Wendy?

No the right arm.

Ah no once upon
a time in America.

They are three shots that
once existed in America.

Yes yes.

And so in the film there is the
relationship between man and nature.

Between industry and nature.

Yes it's true.

Between animals and man.

The thing that fascinated
us most is precisely that.

The rural aspect and
the industrial aspect.

Because in Italy industry has
never developed in the big centers.

Apart from Turin, Milan.

But in those few centers where it
developed beyond the northern band.

Yes.

They are rural centers.

Yes.

Or seafarers.

See Taranto.

In short, where you
have the ilva on the sea.

Something truly unusual.

This thing that puts on
makeup makes me fly.

Because it reminds
you of Joker maybe not?

Because I remember.

No well yes.

Look at Jack Nicholson putting
on make-up in the bathroom.

A bit like Jack Nicholson
wearing make-up in the first beat.

In 1989 by Tim Burton.

I noticed you making
an expression.

He moves his mouth exactly
when he puts makeup on Nicholson.

Exact.

No, okay but then it's nice because
a woman criticizes him for vitiligo.

He wears makeup to cover it.

Certain.

And this also has a
fundamental element of

this terrible evening
that is about to happen.

I really like this whole
scene resolved in this shot.

Fantastic.

This is the classic
budget problem thing.

Oh well, as always happens.

The more they take away from you, the more you are
forced to work hard and find creative solutions.

I didn't know how to do it and in the end I
said I was inspired by our dear Elephant.

Rightly.

Because we were inspired by Elephant
for the chapter construction and I...

In Elephant there is the first car
scene and you see everything offstage.

The inspiration to Elephant.

It is true.

That great incipit.

Yes, it's crazy.

Well, we were on set.

This day you came
to the set, yes.

He's still on set that night.

And he's going to the twins
whose faces we haven't seen yet.

And here is the misunderstanding
because we see that

he tells him okay I'll go
and see if you can come in.

And Maurizio
trembling... Exclusivity.

Exact.

He hopes to be able to enter.

Then at the end of the film we will
discover the double side of this scene.

It seems like they
actually accepted it.

It seems they accepted it, then
we understand, let's not spoil.

Then we understand,
let's not spoil.

And in fact he says...

That is, from the crazy
close-ups Borello, I must say.

Yes.

He is at ease in these
extreme close-ups

Borello, that is, it
fits like a fish in water.

Yes.

Please tell me who improvised
this one, as zompi as the grill it's his.

This also has the keys that you make
in the absolutely improvised sketch.

This disco scene where I don't know how many
extras the audience imagines when they see it.

This is the smallest
nightclub we managed

to find because we didn't
have the money for extras.

So in proportion it seemed huge.

And there are 80 people inside.

All right, come on.

And outside, the problem
was outside, I was crazy

because I didn't have any
extras to take out the place.

Outside the club there are 15
people who exchanged places.

They seem more come on.

They seem more.

This is the magic of cinema.

Yes, they seem more.

I must say that rear
projections help a lot.

That was a great Dell idea 'Elisabetta
Zanini because not having the

money for the scenography
said rear projections.

And so with artificial
intelligence we created

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Interesting, yes.

Because he always has this
wonderful tic of... As if he were dirty.

Very nice.

That is a great idea of
Francesco's, I have to say.

Great actor in this too.

Very methodical.

I would only like to see a film about
Borello who plays this character in Eterno.

But Borello is sinister.

Also because we have to be honest,
the character we hadn't written c

'it is, but he made it
come out a lot more.

No, it's become something else.

Yes, definitely.

Another actor would have made him a much
less interesting character than this one.

Yes, three-dimensional.

Yes, layered.

He and I talked a lot about how to
speak, how to move, how to dress.

We did a great job
together, I have to say.

Then among other things he brings
out a background that is never said

explicitly, but everyone rebuilds
themselves and it is always tragic.

That is, you can't
imagine anything.

It's really beautiful
behind this character.

It's a devastating
family situation.

Not only that, it
is in fact... listen...

Never let anyone say
you don't know anyone.

He seems like a character
who has done analysis.

He seems like a character who has
undergone analysis, he is a character

positive that he is
giving him perfect advice.

But it is precisely because of this
advice that everything is happening now.

Yes.

Which is the inevitability.

Which is advice that in
some cases he misrepresents.

Because in any case it is
advice that clearly gives...

Certain.

From mutual help precisely from Oda, from a
listening group, from a therapy group etc.

But completely
misrepresented by Maurizio.

Totally.

Which now interprets
his cultural background.

Between you and now
we see him washing there

vitiligence, let's say
the trick for vitiligence.

And he wants to be himself.

And he wants to be himself, yes.

Look how beautiful the
phosphorescent comes out with this light.

Andrea's idea
Ritano, the director of

photography, told me
why don't we do... Luminol.

The bathroom with light... Nice.

What is his name?

Light...

Florescent.

Florescent I think, yes.

Or luminol.

By the way, this tent is also
like this, which is exactly what it is

the type of tent
used in factories.

There is a feeling that people
never get out of their routine.

Certain.

So even when you
go dancing, go to

have fun, that too
becomes a routine.

Becomes...

it becomes an obsessive
repetition of a ritual.

And here is Cosimo's
big bullshit, no?

Del Biancarelli.

Of the little girl.

This sentence.

The catcalling.

Then if you think about it...

The catcalling.

Which is dogcalling here.

That whistles at
a certain point.

Then they tell him that
he has to call the dog.

Which if you think about it, it's incredible
that it all happened because someone told someone

Bella girl, the real Michelle
declared, I didn't give a damn.

..

To which girl?

Exact.

This thing was annoying.

Let's say... It was annoying
in the sense that an idiot said.

It wasn't the catcalling itself,
was the male reaction to catcalling

which was precisely a way
to mark the territory and the

possessiveness over a girl,
of another among other things.

Well we'll see this later.

We'll see it later.

This is a huge moment.

This is a great moment that
we had outlined in the script.

Scene rewritten in preparation.

Then me with the girls, not all of
whom are professional actresses.

We sat down, I'm not
just a woman, I said guys

you girls have to help
me, it's Michelle's farewell.

What would you do?

I had this memory of my best
friend from Caserta who gave me one

shell that he had in his
heart for a series of reasons.

Let's treat ourselves
to things, right?

And so... Yes they give her
some things to take on the trip.

That is, you understand without
it ever being made explicit.

Their relationship.

Not only that.

Not only that, but in short she is making it clear
that she is about to leave, so they give her a gift

what... in fact this was
the indesco, the condoms.

That's right, condoms.

And that brought us to
the revelation, yes I am

girlfriend, yes, but the more you
accuse him, the more you break up.

Yes.

And this thing where
they inflate it is beautiful.

But this complicity of theirs is beautiful,
that is, the fact, here's what I say,

this is not an acting film, it's
a truly great performer's film,

I don't know how
to define why...

Yes.

This truth that exists between them,
built in the months of testing etc. for

charity, but you feel the friendship
without saying anything like you said.

And even here somehow, even in
this scene, I mean I like that every

character in the film is
pushed by his friends to do

of things that will then be
the problem in some way.

Because in this case they
are turning it against Christian.

Yes.

And this thing as
we will see shortly...

It's the domino we
tried to put in place.

To the magnolia we say...

And here was the...

This song is beautiful by the way
Night, I imagined while I listened

the song this shot, and here
we had ass because if you see

the camera remains on delay, I
told her what moods she was in

he was trying and you can see right
in his eyes change with happiness...

Because you didn't slow it down.

Yes I did it in slow
motion, 50 frames.

But look at how his expression
changes, look at how he is thinking

about her loneliness, about what
must now happen with Christian.

See how the water
feels differently.

And then now he
lets himself go and...

it becomes the noise of a motorbike
and we don't know what it is.

This car that goes up here you get married or you
take drugs, a phrase that was there among other things

in Caserta where I
lived and which I found.

There are various versions, that is, either you get
married or you die, or you take drugs or you die.

Yes.

In the province I thought... I'm from
Matera, I've never read it anywhere.

And well where I come from it's more... Yes
there they are a little more... It's sadder.

But for sure they are more active, you
see, in Matera we abandoned ourselves.

Yes.

The factory is, as we said at the
beginning, a very important element of this

history because the real
Colleferro is built around the factory.

Obviously the film, I repeat, is not
a documentary, it is not Colleferro,

but the concept is the same, that
is, you even go there to eat pizza.

As a panorama for
Christian, because...

The park.

Because it takes away the scab.

Oh yes, because it's always these...
in short, it's a bit of a seed for theirs

relationship, they also have a somewhat
unhealthy relationship because...

The other movie I saw recently,
which was then interpreted as a

poster against chauvinism,
It's Rosemary's Baby.

Oh wonderful.

That is, everything
Cassavetes does with Mia

Farro is totally
chauvinist in that film.

Certain.

Who finishes reading the book about
Satanists and even throws it away,

forces her to take
drugs, that is...

And while rewatching Rosemary's Baby I
was reminded of this scene, so here's how I

films work inside
you, in some way...

But it is impossible not to mention
films involuntarily, we have them

seen too many not to be
influenced by them, understand?

Here is the pronunciation
of Pantheon Sorbonne.

Which is fantastic.

That someone even told
you how it is possible that she,

a girl like that from Colleferro,
go and dream of the Sorbonne.

Yes yes, a few people have
criticized this to me, as if you are one

small province,
you can't dream big.

Well I know people who spoke worse
than her when she joined Bocconi.

So...

Erm... But the Sorbonne...

It makes her feel like an idiot.

He is very good.

But this... Yes
yes, crazy, crazy.

And here is the beautiful live

recent sound of
the Pantheon siren.

We have... Which you kept,
that is, you wanted to shoot...

We held and with Thomas
Georgi, the sound designer

of the film, we repeated
it often in the film.

But sometimes it's
almost subliminal.

Yes yes yes.

Because we put it
in the background.

Oh yes, here is the reversal.

Maybe you have to
tell me just like that.

There is.

There is.

Yes, because he accuses
her of being free and she is

he's accusing you of
being the classic alpha male.

She's good here.

An unaware chauvinist
one might say today.

But she's very good.

That here you don't have to be
afraid, De Moris is already dead!

Wonderful phrases.

Stunning.

Manifesto for life
in the province.

A slogan.

Also a slogan for girls.

But it's true that
we're leaving, that's it.

Well yes.

But we all left.

And here we understand,
we understand everything.

We already understand a
piece of the story here eh.

Oh yes, we already have
two very important elements.

What inspired
Michelle to be there?

And what is he experiencing?

What pushed Maurizio to be
there and what is he experiencing?

And above all Christian.

Because the real, let's say, weak
link in the film is Christian himself.

And his jealousy
towards her of Michelle.

Because when they brought us this
story, Giuse, the thing that we have

truly then impressed
and convinced it was not a

film about a boy
who gets killed, but...

a story about a girl that one tells
Bella and her boyfriend comes back

back and causes a mess
that leads to the death of a boy.

I'm seeing this moment
annoyed even by the greetings.

That is, she who
greets other friends.

And obviously what is she doing?

He says okay, you're
breaking my balls and I'll be you

I show that I'm
calm without you.

I have nothing
more to say to you.

I dance with whoever I want.

So his jealousy is
getting even worse.

That is, in some way they
are both teasing each other.

Both are hurting themselves.

Even if they don't want to because
maybe they really love each other.

Yes clearly it's a problem
that could be solved

immediately afterwards but in reality
it doesn't resolve itself because...

The absurd thing is
that it affects third parties.

It resolves when he gets hit.

And this is a beautiful thing.

See also the friend who says you
can do whatever you want for me.

But what does it mean?

It's obvious that you can
do whatever you want to do.

Why are you saying that?

Exact.

He is very good.

I love it.

I love everyone.

But I liked dying in this scene.

Manuel Venanzi.

Excellent.

I play football there.

Oh, I actually know.

I discovered it that
evening I came to the set.

Control yourself.

Beautiful.

Talk to control yourself.

And here we return to the
previous scene we have...

It's beautiful here.

This is brilliant.

This is very Trampian, the denial of
the truth, the denial of the evidence,

right up to the end even the public has
doubts that what happened has happened

like Cosimo or Maurizio, so good
Cosimo who in the end says but yes it was

Maurizio to do it, because
all the events with the

I bong him and Cosimo
paradoxically comes out clean.

You know what you said that
now, paradoxically, going back,

perhaps in the previous chapter I
would have cut what can be seen

Borello whistling, so he was
even more thrown into jail.

But it's too
beautiful like this.

No, no, that's nice, but
I say that even more so

you were asking who did it,
and well the voice is clearly his.

No, clearly, of course.

Well, I didn't like it.

And here's what you stated, a

It didn't bother me,
what should I do?

He uses that is the gun thermometer
to ask for the gun, it's crazy.

This thing, yes, and he
does me, him on the set

every time in Borello he
tells me Defend from what?

He did some shit, no okay,
he did some shit, he said

very cool, beautiful, and every time
he told me, really Vince, are you sure?

But usually directors
tell me cut, no go, go, go.

It's every actor's dream.

Yes, I liked him too much,
he amuses me too much.

Cut this cigarette,
what do you call them?

What do you have to do?

You.

he says to Bella.

And here immediately
comes the change of direction.

And here is a piece of shit.

There's the man who told him, don't ever
let anyone tell you that you're nobody,

now he sees the mess and leaves.

But this is a truth.

It's a reason for what will later
be clarified in the chapter on twins,

that is, this is our scapegoat, our
sacrificial lamb, everything adds up.

Exact.

Look what the fuck did you do,
what do you think I didn't see you?

You watched everything and you
know he did the whole short track.

What the fuck are
you talking about?

What the fuck are
you talking about?

And here's the load of ten.

Because he sees his
ex with someone else.

This thing makes it trigger.

As today's young
people would say.

Oh yes, I'm triggered.

Of course, there is the period
in which Cristian insists a lot.

It always makes me laugh here.

See you told him everything.

And this is where
the bullshit happens.

And it's this moment.

There's no going back.

Oh you see, here it goes
back to the side of Christian.

It's crazy.

Here you become
Cristian's girlfriend again.

Yes, yes.

This is all born from...

when we read the trial
documents, we looked at a

early day and let's say
what happened in that Metro?

That there are
several hours of hole.

No, also because whoever we
interviewed, when we said yes,

okay, but when they argued, this
girl, what did they say to each other?

What did they do?

All on a silent scene.

Because it's obvious, the classic
dynamic was triggered... Of lynching.

We had to tell it, because
clearly it was two against twenty.

Yes, of course.

Which then becomes
thirty, then becomes forty.

Exact.

It is very nice that
this is created here...

this clash with friends.

Yes.

Now, this thing
you're about to see...

The question of
misrepresentation, the points of view.

This is the one that
sent you to the hospital.

This one sent me to the hospital,
because I did a lot of the filming myself.

This thing you're seeing, I follow
him with a hand-held camera,

and I'm running after him.

It is renamed the Alfieri Cambo.

Alfieri Cambo, because...

I completely relieved the
car of any frills, only the

body, camera and lens, and
it will seem like bullshit to you,

but this asshole ran fast,
and I ran with him, once, twice,

three times, four times,
but the sixth time it came out.

The next day I ended up in the
hospital, because my vertebra got stuck.

But if you don't end up
in hospital for every film...

Oh well, but previously I had run
out because I had had congestion.

Oh well, but... On the worst
because we had... It's a garden tick.

Let's say I'm unlucky.

Well, but in my opinion it's a bit
of a baptism of fire for every film.

No, fuck you, no.

What the fuck.

But in my opinion it also
determines a little success.

I scratch myself.

Scratch yourself.

Thank you.

I'm really out of breath,
which I think you did too.

We were all dying
here, let's say.

We were all dying.

We were a massacre.

How wonderful you
say it, I lost my keys.

I missed it.

But what did I miss?

Among other things, when we were doing
it I lost it, they were all laughing at me.

To start something you
imagine them breaking into it.

Yes, yes, to start.

They don't understand the wires.

No, but because I have to say, it's a phrase
that will seem strange in a film like this,

but it was one of the
funniest films I've made.

No, for that world no, no.

Consistent, sure.

In the sense that, that is, this stuff is
also fun to do, to hear recited, that is.

Actually, Borello didn't
give a damn, he had become

him, so you even
enjoyed hearing it.

She is desperate for the boy.

Yes.

But desperate because she understands how Willy will
understand later the consequences of the actions of

Cristian, he doesn't want
anyone to get hurt, because

This is a situation that
escalates in an instant, right?

These guys you see around, like
this one who is screaming at him,

they are all people taken
from the street, huh?

They are not actors.

I gave him auditions, not
even professional extras.

This hand to hand or
were you... All hand.

All hand.

Or with Ziggy.

By hand and with Ziggy.

Okay.

Because I wanted this
raw thing, documentary.

Which is the one also
used in The Studio.

Which is also used
in The Studio, yes.

Here is another, let's say, another type of
movement, more neurotic, more frenetic.

I'm also a fan of Diamonds in the rough and
that film inspired me a lot for these scenes.

But in general for the film, because this
is also a film where, well, they happen.

This always makes me laugh.

Good, thanks.

Yes, yes.

But why does his character...
I mean, good, thanks.

He, understood, fight.

No, but in front of everyone.

In front of everyone.

He just told them, this is a
dick, then turns to him and says,

well done, you did well.

Yes, yes.

And this falls for it.

But exactly that.

I mean, we'll probably never
know how that evening really went.

No, no, no.

That is, we partially know.

I think it's very realistic.

No, but it's
absolutely believable.

But I already remember when we
were writing it that there was a whole

series of elements, precisely,
like a wireless phone.

That is, as he gives
a communication, that

communication in
transmission is altered.

There are ten people who can mention it to him,
there are twenty people who can mention it to him

he can name, he says there
are fifty, there are thirty, fifty.

I mean, clearly as you
communicate something...

This is why I fundamentally
believe that the work of the novelist,

of those who deal
with fantasy, be a little...

for everyone's benefit.

That is, we all like to reinvent
reality, to make it more compelling.

Clearly fifty people who are
about to mention you are not ten.

It's more impactful than fifty.

Great photo.

And here.

This is also a true,
incredible story.

Yes, that they were having sex
in the cemetery with other women.

In reality in the true story
there were four with two women.

Yes.

And we wanted to keep the two
brothers, now let's talk about it.

I don't remember why...

He's watching his knee surgery
because he... Oh, sure, sure.

He was a great MMA
fighter, before the movie.

At some point it broke.

It broke and...

And so, and this has always been
another element of three-dimensionality.

We wanted all the characters
to be three-dimensional.

The gem of the
ghost, I must say.

You like it, huh?

Lots of stuff.

Oh, I know, this...

An idea that came to me on set,
seeing the ghosts of the real actor.

Do you get there a little?

Handsome.

Also because it looked very
good with the gold and green.

And we wanted to basically
build a very relationship

erotic, very morbid, but at the same
time of two big children living together,

they get dressed together, shower
together, do their hair together.

And they wake up, part of
their routine, which they are

physical training,
painkillers, for Lorenzo.

Then fix your hair, right?

The dye... It's very tender.

The scene is very tender.

The scene of...

Oh well... My aesthetic inspiration here
is clearly Garonian, in the sense that I

I love royalty... The Greek
on the shorts, very beautiful.

We didn't have the money
or permission to do...

Who is?

The Versace one?

Things?

Those... I remember.

And so we did the little piece,
as they said in my parties.

Okay, but now it's
more... A famous piece.

Certain.

This is a great scene.

This is a beautiful scene, yes.

Well, a spin-off would be
wonderful about them too.

The prequel.

The prequel.

White Brothers Baggins.

But this is something that I... I mean, It
also takes me back to my childhood a bit,

which wasn't so much the
shower as when we were little.

I don't know if... You have
a sister, he's not a brother.

At least with my brother,
when we were very

little ones, we
both wanted to pee.

We peed together
in the same cup.

Oh, sure.

Which was a classic.

I used to do it with some
of my friends, like this.

As long as you're little you
can do it, because you are small.

Well, when he grew up he didn't change
much in terms of shape and size, then.

..

No, in fact.

We can do it even now.

This idea of MotoGP, let's face it...
Eh, this is Giancarlo Fontana's idea.

By Giancarlo Fontana.

Your director buddy with
whom you make your films.

What did he tell us, do you know that in September
of that year there was this very serious accident?

He was going to stay there.

Valentino Rossi stood for
a thousandth of a second

to stay there and he
said, I think it's thematic.

And it's actually very thematic.

The inevitability of things,
how sometimes there is death

so close, as in the case of
Valentino Rossi, but he comes close.

In Willy's case,
however, he tells us.

He found it, that's it.

The actor who plays
the father is not an actor.

He has a workshop.

Alright.

The casting directors Federica Baglioni,
Marco Donat Catteni and their assistant

They found Simone Marino while walking
down the street doing street casting.

He has an incredible
face and voice.

And what about her?

She is, no, Carmen Pommella.

A great theater actress,
cinema actress, who however...

Tattoos aren't his, obviously.

We didn't do any tattoos again.

I have to say, Lucia Patullo, the
make-up artist, he did a great job.

They obviously look real.

Fantastic.

The guys' tattoos are real.

Actually about him,
about Luca, this bigger one

viola, we had to
cover a lot of tattoos.

Yes, due to copyright issues.

His leg is completely tattooed
with Disney characters.

So you see this 1.86m man.

Who can be more harmful than
the real Whites, the Disney ones.

I mean, they can hurt you
worse, maybe, sometimes.

Exact.

At least their legal
department is very aggressive.

Exact.

This bubbling sauce is truly...

So, boiling sauce for me is
something that boils, right?

That's what's happening.

No, but apart from
always giving realism.

As well as the green bean sauce.

But then inspiration came to me
from Bad Guy, from the boiling milk.

Ah, but think, you see.

That thing made me say...

Interesting
something that boils.

It makes me think...

Yes, the milk curdles
right there, at some point.

At a certain point he became what...
when it makes that wonderful patina on top.

Here, for example, is something
the public can notice now.

Here you go.

You see that the camera
moved because it hit the operator.

And on set, the director of photography and the
operator said to me, we have to do it again.

And I said, why?

Because it hit the operator.

It shows in the speed.

Ah, beautiful.

I said, I don't care.

In fact, it is a documentary.

Indeed, even...
Anything can happen.

It's nice to emphasize
it with a sound, almost.

Just like the presence of the
camera colliding, that is... Yes, yes.

It's beautiful, it's beautiful.

I wanted this, I wanted this.

But in my opinion this is
somewhat of the strength of this film.

In fact, however, despite the
terrible facts that they told me,

there is never a high external
gaze, superior to the facts.

You are inside the facts.

So you're with those
characters and it's not there

a different point of view
from those characters there.

And this is the real
strength of this film.

If you're like that inside,
you never make a judgment.

Exact.

Which is what, fortunately,
they all recognized us.

They recognized that this is not a film
that judges, it is a film that photographs.

And I wanted to say, I'm
very happy with the shot

that I did, the one you
just saw, from behind.

On vegetables, yes.

On vegetables.

Why?

Because it tells you two
things at the same time.

One, what kind of work do they do, they sell fruit
and vegetables without having to make a scene

explain them, without
having to go to a store.

Therefore also
saving on the budget.

And two, it's really one
Nice shot, because you

it also tells where they
come from and go to the city.

We scratched the car
on the bed of the pickup,

which is a very large,
very beautiful Ford Raptor.

And here is a meeting with Willy, a little
as Maurizio observed it, from the glass.

Here they even touch each other.

We really liked this thing, no?

Do you remember the script?

We wanted them to touch
each other for a moment, that in

somehow here they all know
each other and touch each other.

And so it could
happen to anyone.

There is Covid, we remember,
with the terrible mask.

Post-Covid, in short, the
September after Covid.

And here we go to the punches.

The ones you like
to shoot so much.

When you see subjective
shots, like this one, do you see?

This here is the operator
who got beaten up.

Because we put some...
Alessandro Gentili.

Alessandro Gentili,
great operator.

The room is same.

He asked, I want the truth, I
want the public to feel the blows.

And so it was a concert effort.

Between him getting
beaten up in the car.

In fact, you see, the car moves
and they massacred him, right?

Because they kicked
him and punched him

on the hands that
held the camera.

So he would take some sviece, he had
all purple hands at the end of the scene.

Working in concert with
Thomas George, sound designer.

I said before that he did a great job
of sound design here, of the sound.

It's crazy.

Feel the leather of
the helmets rubbing.

Feel the bones being hit.

Because I didn't want that American
action movie stuff, the good shots.

This is what you hear, the foley
artist, who is the one who records

the live sounds, he
really took a beating.

He made them
as real as possible.

And here the brother thinks that it is
already among them how shitty they are.

The brother who uses his
broken knee to hurt him and win

this... which isn't even a
race, it's training, make sure.

Here we meet Rossella, his
future wife and mother of his son.

Unaware?

Maybe yes, maybe
no, we don't know.

Who knows, there
won't be a mystery.

And here he appears
almost tender, no?

But how can you measure
it without measuring it?

But how do you
know these things?

That is, in the sense, how can
you measure it without measuring it?

It's an estimate Lorenzo,
it's not an absolute figure.

Oh well, he's fine though.

Yes, yes, he's
fine, don't worry.

Look how good he is.

It looks like a puppy.

You would never know what it is.

It's an estimate.

It's an estimate.

Look what he's doing, dude.

This is all his stuff.

Yes, yes.

Someone who has never
been an actor in his life.

And here, no, they tell her
they're going to get a drink.

Let's see, so to speak, the B side of the
scene seen before with Maurizio and Cosimo.

That is, their entry
into the arcade bar.

That belly is very beautiful.

It's fake, of course.

Very beautiful, very beautiful.

I have to say it's
very well done.

And here we wanted to
build this double soul, right?

A girl singing unaware in the car
while the unheard of violence outside.

And as far as I'm concerned,
Giuse, when we wrote this scene,

I remembered Boris when he
said Italy is about ballet, right?

These jingles while
there is death outside.

These jingles while
there is death outside.

For me it was the
reference of this scene.

Yes, more than the jingles it is the
Latin American who has taken possession.

Which has taken possession
of our summer states.

Yes, at least once upon a time we
had Peppino Di Capri that you put first.

In that bargaining is beautiful because
that is the bargaining of the elderly who

they dance to Peppino Di Capri which
among other things was a Benny King cover.

No, but then you remember that was
my quote when overtaking, I wanted...

Yes, which in turn was
about that generation there.

That is, they were girls at the
time and now they are mentioned.

Exactly, but why in the overtaking
scene at the bar before he dies, right?

That represents the
end of Italian comedy.

Yes.

And somehow for me this
scene represents the end of

that generation that gives
way to this new generation.

Yes, but on the other hand, here we discover the
conditions under which Maurizio was invited to leave,

that is, get your father's car,
Don't come with your bicycle.

Exact.

Exact.

Which then seems to me...
this scene is beautiful too

because you ask yourself, okay
but does she do it or is she there?

Did you put the music on so you couldn't
see or hear or are you really stupid?

And this thing will be
all along its chapter.

Certain.

Not here, you wanted to
write this thing about Kant.

How thematic is this thing,
the validity of morality?

Yes, this is classic
screenwriter stuff.

She is very beautiful though.

Now let's put the
philosophical gun.

Luckily, Kant came
to this conclusion.

But very thematic,
very thematic.

Handsome.

And here we are about to
discover the face of... this voice...

This unmistakable accent.

Unequivocal.

And here you see the model of
the old counter is proposed again

young people as at the
beginning of Pastor versus Sofì.

Sergio Rubini.

Sergio Rubini who... I
want to say this thing...

I grew up with some of his films,
including All the Love There Is,

which, I always say, is
an inspiration for this film.

Because... because that
movie really represented

the youth of the suburbs
in an extraordinary way.

Real.

He is a director, he is an author,
he is an extraordinarily capable actor.

This confrontation between the
two of them... about parenting.

Here are two
fathers, two friends.

But let's see it.

If there was a little
milk in it, better.

Obviously the cliché is that only
you know how to make coffee.

Please.

I didn't say that.

This is the age-old issue between
us Neapolitans and Apulians, right?

That we always do everything
better, coffee, pizza...

And we do it better anyway.

Here you are.

Now you can
become a grandfather.

Eh.

Let me feel how you feel.

Old.

And are you comfortable
with your gender?

You know, my kind...

Rossella is very much
in love, she said the good.

And it's good for
her, it's good for me.

Certain.

But you know, don't you,
what kind of work does he do?

He knows a language
of fruits and vegetables.

Oh, no.

That she's in love.

I, but I, I, I, I...

Among other things, think how much we
have changed since we became fathers.

We wouldn't have been able to write
this scene like this before, in my opinion.

I particularly care about
the scene here because...

Someone who tells
you... Silly, stupid.

Oh, how important
this sentence is.

How many times do
parents pretend not to see.

It's always the
age-old question.

Do I have to be permissive?

Should I be my child's friend?

Do I have to be a parent?

The truth is that there is no
correct way to behave with children.

Because then at a certain point it takes
over autonomy, the sensitivity of children.

This also lies in the error, perhaps, of
Di Leva's character, who doesn't go to

talk to Rossella, he
goes to talk to his father.

And not recognize that
autonomy there, to Rossella.

This is also a wrong declination of
patriarchy, that is, I'm not going to

speak to the person directly concerned,
I'm going to talk to the father, who works

one more fatherland power,
because Rossella lives

still with them, and not with
the person directly involved.

So I'm bypassing the
real interested party.

And this is interesting.

Often.

Your daughter
Rossellina was there.

Never comes down, huh?

Always parked, at most
you smoke a cigarette.

Dicosto's colleagues
suspect it is a pole.

And they keep the photos.

Rossella is a good girl.

Sometimes it can
be childish, but...

I never stopped her.

I've never...

Not on principle.

...out of disinterest.

Not out of disinterest, but
out of principle and coherence.

This thing is fundamental, that is, it's not
that I did it because I'm an absent father,

I did it because I knowingly
left her this freedom.

For consistency, which doesn't mean shit,
you don't have to be consistent with your

son, you must be present,
you have to be vigilant.

It doesn't mean anything.

I care a lot about
this thing, me.

To be communicated, I say.

It's beautiful, I wish
you would go away.

Here is Cosimo's masterpiece,
that is, by Enrico Borello.

This scene was completely
rewritten by him and me on set,

because we wanted
to give it a particularity.

I told him, listen, why don't you
sell the rifles to these people?

And from there he went
crazy to start saying...

The radiance of the fact that...
he might have worked in a...

Of course, of
course, it's the factory.

In fact he says, let's say...

They disappear from
the assembly line.

Where are they?

He has it like this,
I'll make room.

I mean, okay guys, what
are we talking about?

Do you like this?

Do you feel like something?

No.

It's a load of bullshit.

Get away from that bin.

Show me how strong
this rifle is, come on.

No, it's not this rifle.

Let's bring this bin closer.

Eh, here's the meeting.

The animal.

That's what the scene
reminded me of Of hate.

A cow.

From snipers.

Come on, let's
make this thing shit.

What the fuck am
I supposed to do?

But how should I move?

Come on, suck it, do it.

Oh, come and see, oh.

What happened?

No, you can't
understand that it's there.

Run, no, come.

Maybe this is
your favorite scene.

I said it.

Maybe you're right.

It's bizarre.

No, no, you want more.

It's pretty big, huh.

Look what it is.

Come on, do something, go.

Let's go fold the gloves.

Ah, he gave you so.

Oh, hold on, oh.

And here, you see, Cosimo, who always appears
to us as an almost Mephistophelian character.

Well, up until that point
he was talking about guns.

He was talking about weapons, he
sent his friend out of the nightclub drunk.

Now, seeing such an
innocent being, stops.

It freezes.

Because he is observing, he is experiencing
first-hand the consequences of his actions.

Even if he has to accept them,
he will accept them, obviously.

We won't see, but
he will accept them.

But she's seeing Willy.

She's looking at his face and thinking
about what's going to happen to him.

And this zoom that
advances on them.

This them, in some way,
recognize each other.

Because at that moment
you see that he is naked too.

He too is a sacrificial lamb.

Why?

Because they are
interested in his complicity.

Because anyway, in any case,
they can put him in the middle.

He's not a sacrificial
lamb either.

And here all these details, this
eating, these annoying finger sounds.

Why?

I wanted the audience to
experience Sergio Rubini's torment.

This father who finds himself at this
chilling dinner where he is forced to

host the future father of the
nephew with his brother in their home.

Who is trying everything to look
nice, dressed well, brought ice cream.

But he brought
ice cream in a tub.

You understand?

The cardor.

He brought the
cardor as a present.

Well, I remember
when I was little and yes

he wore the Viennetta
when he went home.

Of course, maybe not if you're in your thirties
and you've gotten a girl pregnant and you're going.

No, not that. Of course, maybe not if you're in your
thirties and have got a girl pregnant and you're going.

No, not that.

But it reminded me
a lot of that lost world.

Of course, absolutely.

Beautiful.

This was somewhere
else, no you see?

Well done Sergio.

Look what he does, look.

He doesn't know how to say it.

They do this with
freeze-dried sachets.

And here the
teacher gets stubborn.

Subtexts are very
important here, no?

Yes, yes.

That is, the ice cream isn't quality,
it means you don't have quality.

Quality is never accidental.

It is always the result
of intelligent effort.

This sentence is
telling him that you could

apply, but it's useless
because you will never change.

Look at her trying
to protect him.

It's the chilling
family dynamic.

Of course, because for him the
shortcut is increasingly important.

On one page I was reading that
they talked about American parmesan.

Alright?

Parmesan, right?

These fucking Americans are
attacking us 'Italian Quality label.

It's obvious that it's to
deceive the public, no?

Well because they don't
have the climate to do it.

But this made me think.

The quality.

What she says.

It's just a word.

He is incredible.

Now he reminded me of Lando
in an instant Buzanca a little.

Certain.

Who was a great actor.

Great actor.

Also very underrated.

No, among other things this
thing... The inspiration was My wife.

Why My wife told
me about parmesan.

And I thought, look at
these fucking Americans

they attach the label
Italian Quality to sell it.

But then it sucks,
it's not parmesan.

Because obviously
they can't do...

Because there was Trump
during his first administration, right?

Already the duties,
the things, etc.

Who campaigned against parmesan.

Parmesan cheese.

Enraged by the fact that it
couldn't be done again by them.

And people try to explain to him
that there are no climatic conditions.

This thing has
always made me think.

In fact, this scene, this
confrontation between them...

Which is a change
of power and scepter.

Because you think
the father is in charge.

Then he tells him, look, we are
all part of the same capitalism.

Both economic and thought.

People like you buy it, in the
sense that they believe that...

Both actually... how to say...

What happens is not true.

Instead I eat it.

I accept what is
happening in the world.

That is, it's people like
me who are in charge.

The ignorant in power now.

There's a movie about
the Trump administration.

Even a little.

Now it can be found everywhere.

And here is the B-side of
the scene we saw before.

He's even calling him a dick.

He says, what is he doing?

He's a pawn.

Clearly he's a pawn.

He's a pawn, isn't he?

Here.

If any problem arises, let me know, that
gesture means that the blame is folded.

If they drink it he goes to
jail, it would be that gesture.

This is wonderful, isn't it?

That is, they made him come...

That is, only for
their interests.

And here,

as they say in Rome...
They push stuff.

Meaning what...

Which was their business.

In addition to extortion.

This too is true.

Only they were two
girls, I think, right?

They were... yes,
they were two girls.

They went.

They had two other friends.

We had to merge, because
we couldn't tell everything.

There was that hilarious
scene with the little girl.

The only girl, in short...

Yes, because first there was
a character, and then we cut,

who was Giorgione
Detroit, who called it Detroit.

Their leader.

What the American wanted to do.

Who took someone else with them into
the woods, and then was left alone outside.

And she told him...

In short, what were
we supposed to do?

He gives me a kiss, something.

He distracted himself from the Snake on his
cell phone, looked at her, and with a plomb

English said... I've never
been good with women.

Yes, he had a great
ambition to defeat.

Filming this scene was... A context in
which everyone strives for excellence.

But he recognized
his mediocrity.

This scene you
were saying, sorry?

No, actually I would like to talk about
this that is happening, this nightmare.

You know I'm obsessed
with nightmares in my films.

I always put a dream
scene in which a character

he feels closed inside
his own nightmare.

This, the inspiration is a bit like
Fellini's Eight and a Half, isn't it?

The beginning, like this,
where you don't hear noises.

There is only, it seems to
me, a background noise.

There is the noise of the air
conditioning of Mastroianni's car.

Here is his shhh.

There is a mother
cradling her son.

It's a bit like Rosemary's
Baby that you mentioned before.

It's the professor's nightmare, by Sergio
Rubini, who... who wakes up with a start.

I know, because
once I saw it I thought

that he is the one who
is breastfeeding the baby.

And it would like to be
like this, the nightmare.

Let's say, I don't specify,
but in My head it's like this.

Then parmesan is made from the
milk, so above all it comes back, you see.

Excellent.

At all costs, symbols.

Sergio Rubini here, guys,
only made one Chuck.

Unfortunately I wasn't able to
assemble it all. which was very long.

At one point he cried
desperately with her

daughter and on set
we were all devastated.

Moreover, on the first
day of filming, as his fan,

I went to him with the
DVD of all the love there is.

I said to him, can you
give me an autograph?

Fantastic.

He laughed and said, has
this ever happened to me

colleague who stars in one of his
films and asks me for my autograph?

I told him, well, it's the first
time, but I'm your fan, please.

And he really got a little unbuttoned
there, because he is a very rigid man,

very self-contained, very
professional, very serious.

And there he understood that, in my
opinion, he thought I was a bit of a sucker

maybe until that moment, because all
I did was tell him how much I liked him.

Instead there, in my opinion,
watching the latest DVD

day, he said, but
this really... is like this.

Here is one of the various
pieces that contribute to the

madness of this night,
that is, a misunderstanding.

Because she is calling him because the
father clearly said… He is misunderstood.

He is equivocal and thinks
she has understood that

that one is fucking someone
else in the cemetery.

Yes.

And hence a whole
series of bullshit.

What bullshit, what bullshit!

But you asshole!

Listen, Rosè, he loves you,
even if he's with her, understand?

But who is that?

No, I'm drunk, I made a mistake,
I wanted to say something else.

That who, no, that who?

That is, here is the tragedy
that adds to the tragedy.

I got you, bevel.

More, more.

Huh?

And here is version
B of I missed it.

Them coming out of the
disco, In the temporal axis.

Him at the wall,
they're arguing.

Luca is... Lorenzo is doing
his thing at the cemetery.

And there is the
misunderstanding.

You don't know how
to say beautiful things.

You can't tell her bullshit.

He doesn't know how to lie.

Can't you lie?

Oh, I know, it's a long story.

No, then there is... And
in fact he is not lying.

No.

Do you know how it ends?

Yes.

Let me talk, feel it's there.

That we come when the
fuck they make us talk, no?

HI.

A punch in the face.

Come on, you
punched me in the face.

Huh?

I love, fuck you.

Make it easy because...
I'm leaving, huh?

This gesture again.

I don't care.

Go away, who cares?

Fuck you.

They transcend everyone.

I mean... I love, you make me
say you don't do what I said, huh?

Come on, fuck you.

You make me say you
don't do what I said, huh?

Fuck you.

Oh, man, what's going on?

Oh, Will...

I mean, you can't understand
if this Cristiana is what she is'

stuck like one because
that's what he told me, to Bella.

I mean, you're going
to make a mess.

Just do it, please,
please, talk to us.

Oh, Doctor, what
idiotic contexts.

And here we see for the first time
Willy's face which we have deliberately...

A little, yes, yes.

...and wisely didn't...

It could have become more...

A huge mistake to present it
before, luckily, you fought to put it on

exactly. But I must say that the
producer immediately supported this one

thing, no other manufacturer would
have done it, in fact we don't say who,

there was a co-producer at the beginning
who was very insistent on seeing this film.

But why did they completely
misunderstand the nature of the film?

It's not a film about Willy,
it's a film about people.

Because sometimes incredibly
people judge negatively

a film because he would have
liked to see something else.

Yes yes it's true.

But it's not that the movie is bad because
it betrays your expectations, the movie can

be ugly because it's not what you
expected, the author wanted to tell it

that way, one either
accepts it or doesn't accept it

if you don't accept it you
can't brand the film as bad.

In fact this is not a film about Willy, it
is a film perhaps about a generation.

Among other things, this
piece... as if it were one

of the few generational
films being made today.

Well the success of the film...

Among teenagers it's incredible in the
sense... I was saying Noize Narcos to say,

you don't feel it in the movies,
for me it's a Noize Narcos poet.

When I immersed myself in
their reality, listening to their music,

trying to understand how they
dressed, how they spoke, me

I realized that they are not
represented in the cinema.

Because they are always
judged, how we were judged.

You don't have a future.

You are kids.

In my opinion, today's
kids are better than us.

They just need
to be listened to.

Nobody listens to
anything anymore.

Nobody.

The appearance of the
quartaccio is wonderful.

Yes.

Ja Green, your
son has come home.

Stupendous.

Thank you Mrs Frank.

That lady calculates to
make him say that sentence...

I don't know, it took us
like... as long as a movie.

And she couldn't be herself.

As beautiful as
this thing is, it's tiny.

She who removes the excess
car from her son's perfect wash.

And it leaves a finger print.

And he leaves his finger print because
deep down his mother hates him.

But what makes us understand,
in short, is reassurance

of the night shift, he
who comes back late.

Here just to make clear the difficulty
of the film, none of them are actors.

All taken from the street.

She goes to high school,
her mother is a waitress.

Oh, do you go to high school?

Yes, yes, it's small.

And among other things I
discovered on set who I am

relatives she and Justin,
the boy who acts as Willy.

Oh come on.

They are cousins.

Ah but did you
discover this later?

I discovered it on set.

Ah but think.

And he didn't tell me, okay but he
doesn't talk much so... it's beautiful.

Maybe they don't experience cousinhood
the way we in the South experience it.

Can be.

That Rome hasn't
even lived so long.

That is, however, we
grew up with our cousins.

Yes it's true.

So...

But it's incredible when I think about this
scene how good they were and I didn't have to

do lots of takes because
they're real, it's them.

I asked them to be themselves.

They are exactly the opposite
of the scene at the twins' house.

That's right, it's the opposite
of the scene at the twins' house.

I asked a mother, yes mother of
your children and be brothers to them.

Do you have any siblings?

Yes?

Ok, visualize your brothers.

Let's say I'm a fan of
the Meissner method,

Of quickly becoming
attached to things, things.

Of his own life and I tried to transfer it
to him with lots of physical exercises.

It's wonderful to see
them interact like this.

In fact, here is something that happened
to me too, when I cook for my parents...

Nothing, I always
remain very sceptical.

Well, very typical.

If my sister cooks a dish for her she
starts telling me how much salt you added,

but that's like this, because that's cooked like
that... No but it's... It's all a criticism.

The parents are worse.

Because anyway
the brothers, ok, it fits.

But with parents, that is,
don't go too far because

I don't even want you
to feel bad about it.

But they can't be
totally hypocritical.

To disguise the fact that what
you did left them a little indifferent.

Here he tells her...

If you're sad, I'm sad too.

This is a phrase I
said to my mom a

day that something not
very beautiful happened to us.

When my mom saw the
film this scene came on.

He cried and it was very
beautiful I must say for me.

I always show
films to my mother.

We have a very
intense relationship.

I like to think she's proud.

One day he told me your
dad and I are really proud.

The same sentence you told me with
Giancarlo one day and another day.

And it made me reflect
that we do things in life.

In this case we make films thinking
about us, about what we are doing.

But then if you hear a person say
they are proud of you you realize that

it has an important impact
on those around you.

And so that becomes
an anchor engine

greater than your
dreams, of your aspirations.

Responsibility.

You have a responsibility
to others around you.

In not disappointing them.

That is, simply a mother who tells you I'm
proud means that you didn't disappoint her.

As well as a friend.

The complicity between the
two of them is very beautiful.

He is Massimo
Carotenuto, a genius.

Excellent.

A genius.

Afterwards we will see
him in the locker room.

Oh well that scene is fantastic.

How does the hang
gliding thing die now.

Yes, the hang glider.

All improvised eh.

That is, we wrote the scene
about Giuseppe but then

there were all the
nuances that they put in.

But is that surname
fake Cifarelli?

Yes, yes it's fake.

But Cifarelli, you know that it is a
very common surname in Matera.

Especially for stationery shops.

No, I knew it.

That is, Cifarelli is the stationery
shop where I used to buy

all the accounting material
from the beginning of the year.

The diaries, the notebooks.

It is an involuntary
semi-citti Giuseppe.

I wanted to pay
homage to your roots.

But you heard it somewhere.

No, we made it up.

But this thing is beautiful.

It's very beautiful, yes.

Here, as always, we see the
B side of the previous scene.

On the one hand the complicity, on the
other the danger that arrives unexpectedly.

And the near
encounter with the twins.

The last look between
Willy and one of his killers.

This scene is...

a neurism.

I would define it like this.

Yes.

How long did it take
you to assemble it?

To make sense of it obviously.

Consider that everything
you see is shot by me by hand.

There are many sequence shots
made in all different points of the room.

With a car running
at the same time.

While I'm on the right she positions
herself so as not to frame me.

All against all.

With two sound engineers on stage who
tried not to overshadow either me or him.

So during editing I went
crazy trying to find the rhythm.

I remember the footage.

Madness.

And we were saying how
the hell is he going to mount it?

But then it succeeded.

In fact it is completely
deconstructed.

It's all a setup, how
can I say, wrong,

in quotation marks, as
we said at the beginning.

But no, it doesn't fit.

It's strangely...

I mean, despite being so
unstructured, you still have

a perfect perception of
where they are moving too.

Of the geography of
the place, of the location.

Which is the hardest thing ever.

The thing we
underestimate the most.

There are films where you never understand
where you are, when you are, how you are.

Yes, but not in a good way.

No, in a negative sense.

It's a good thing sometimes,
but in a way that I agree with.

Sometimes it seems like all
you need to do is get stuck up

make a scene, when in
reality this is not the case.

There's also some subliminal stuff, because
you saw it at the beginning of the film

a shot from outside
the glass, no?

So already more or
less the perception.

So you have the
perception of what c 'it is.

That was an established
shot, in some ways.

Well yes.

And then in any case, respecting
the positions, also because

these bastards were
constantly moving.

The dream of
editorial secretaries.

No, the editorial secretary...
She had a demonstration too.

Whom I greet warmly, with great
affection, I believe he committed suicide.

Who is being treated.

He's being treated, yes.

Which is Giulia Albano.

She is the greatest edition
secretary in the world, because a

day he looked at me and
said Vince, what am I writing?

Let's look at the scene.

While we were
shooting the season.

It is true.

I said yes, enjoy it,
I'll buy you popcorn.

I really like this thing he says

Sorry, I don't understand
it, I only understood pizza.

I put that one even in the worst ones,
in my first film, in the sense that...

Not the same sentence.

I like the idea that we Neapolitans
are always a little mistreated in Lazio.

And Willy, who is more integrated in
color than the Neapolitan boy, understand?

There is no racism towards him, but
there is towards the Neapolitan boy who

He's constantly being
ridiculed for his origins.

Even after now there
was the changing room.

They told him you were the son
of a guard, you are also Neapolitan.

This is a tribute to
my soccer shoes.

I got so many
compliments on this series.

I said but look, there was
no need to write anything.

That's what happens
on Thursdays.

But he who just
played the Dolphin.

Fantastic.

It's there, it's too strong.

See huh?

You are the son of a guard,
you are also Neapolitan.

Marvelous.

And he's very sweet.

Wait, what does today even mean?

Ninth.

You made me lose my mind.

I'm too strong.

A bit of a fool.

If I can't stay because
it doesn't belong to me.

Beautiful.

Why are you still
wearing his t-shirt? Rome?

And explain it to me.

Nothing ever matters to you.

And tell me the
lineup from Rome.

I really appreciated that the
character of Willy didn't have it at all

costs as is often done in this
cursed country in which we live.

Sanctify it.

And not even a vulgar
phrase is put in his mouth.

When you make a film like this.

Instead you described
it for what it was.

A boy.

Guys talk like that.

They don't always do
and say the right things.

Or they are respectful.

Why then misrepresent the
memory of a person like Willy.

Who met an unjust death.

Like the one he encountered.

It doesn't mean altering your
reputation, the character and soul he had.

You, on the other hand, presented
it because... For what it was.

A boy.

Point.

But then you remember when
we used to meet his friends.

They told us... Because
the newspapers said.

He wanted to play for Roma.

All bullshit.

But it was also a football saw.

He didn't know he
lacked training at the time.

The reason we wrote this stuff.

Because then very often
they sanctify themselves.

And it's the wrong
way to tell these people.

There is also the matter
of friendly racist jokes.

So...

This thing he tells
him is important.

You know, the difference between
Babba Ganucci and Beccinella is missing.

Oh yes, we'll
collect this one later.

We collect it.

I wonder if he has already
heard it repeated several times.

Likely.

In Tokai.

In the restaurant.

The revival.

That's an old obsession.

Very nice.

Excuse me.

Please.

No, I meant, this
thing is very beautiful.

He's wearing a green shirt.

I wrote Weck Malaya.

Which doesn't exist.

Because they bothered us.

That...

The NBA that sees
the film sues us.

Weck Malaya is simply Milwaukee.

At the Milwaukee grabba.

I mean, so...

Can you imagine the NBA suing
us for using Milwaukee's shirt.

Oh well, the tattoo you saw, Savage
Boy, that's still a Noids reference.

I cared a lot about it.

The real Willie actually
had the Savage Boy tattoo.

And here we see him in his kingdom,
where everything makes sense.

Everything is calm.

Even the direction, in some
way, it's not so tight anymore.

In fact, I imagined that you would
drive around here with a fixed car.

But I still wanted coherence with the
rest of the film, I'll tell you the truth.

However, they are always scenes
that come from inside, from the belly.

But the pace slows down and
if... Has anyone noticed this?

In Willie's chapter, I abandon the use
of very tight close-ups almost in the face.

It is true.

I start to distance
myself from him.

Josaphat Vagni...

What Josaphat is doing, crazy.

This finger thing
that says Chef Tokai.

Maurizio is cute.

Maurizio Lombardi, Chef Tokai.

This thing came to us because I... they are
not actors on stage, they are all real chefs.

It can be seen from
the verbalization.

And I wanted this
scene to be that too

as true as possible and I
have interviewed several times.

I studied with both the director
of photography and the actors.

Inside this restaurant,
various days, the movements,

how to do it, the
actors were very good.

And the real chef I
told him, give me some

particularities of the chefs,
did something happen?

He told me, I'm actually
never aggressive.

If I have to be quiet, I
tap with my finger on...

Certain.

On the table.

I liked this a lot.

Yes Chef.

Come catch up today.

Today?

Today is very beautiful.

Well... You can see...

He, Josaphat, being
his superior asshole, has

worked in starred restaurants
as a waiter and it shows.

He has a... There's the gem he put
in... Let's move on... let's move on!

I'm passing by, so if you have to
turn around, nothing will fall on me.

Which seems like something
that was invented there

seriality and cinema,
but that's exactly how it is.

I mean, that's what
happens in these kitchens.

We make alpusci,
coconut and shellfish.

How much am I up to speed?

Five abreast, Chef.

Thank you.

Chef, I would have thought of doing a fraction
on one of the second courses on the menu.

Cod in cooking oil, brublanca
with lemon and basil chlorophyll.

But then you would
have thought, huh?

Imagine, if we had written, shot this
scene at a time when the kitchen was not

it was so sponsored by food
influencers, social media, masterchef...

I mean, this stuff seems absolutely
ordinary to us now, doesn't it?

Talking about emulsions, about
baba ganoush, of chlorophyll...

Things I'm not good at,
Besides, you're the smart one.

Well no, but in short, these are
things that... But we know them by now.

At those levels I cook it, clearly,
but there are tools like the chinois.

Well, I baba ganoush
heard it, but I don't know

as it occurs to me
that I had had a pit.

I like this thing here now.

This is as if to say tacitly.

Yes, it's true, she's jealous.

Beautiful, phenomena
on The Room.

This thing makes
me fly, you know?

Because the only
racist in the film...

sabello.

Maybe I'm more The
Room than you, understood?

This thing is beautiful.

It's a bit like when, rightly, Native
Americans stopped by cohesion

anti-immigration they say I'm
native, where are you, right?

I mean, I've been here a
long time, long before you.

Yet this is a chase that is
not a chase, it is a total calm.

Forgive me.

Among other things, if
the public could see...

Okay, on the Blu-ray there are
actually auditions in the special features,

how I shot them, and it makes me fly that if you
see the screen tests and put them next to them

how I shot, I did exactly what
had worked for me in the auditions,

just like cuts, like
movements, that is, I tried to

almost identical to what
I did during the auditions.

It is true.

Here's a little landslide in Tokai
who understands the potential of...

But obviously he
can't... Exactly.

But perhaps he already understood it a
little, but here it more or less remains...

That is, you see, the trade press
reads this about... Tokai seems to say.

And then very good
Lombardi because...

He's a poker player.

Look at his face here.

Yes.

Who has the pace, yes.

Got it, you Ben are laughing because...
No, no, instead he's getting worried.

Instead he says yes, but
who the fuck has the pace?

Exact.

No.

And back to the series.

Excellent.

Very good, okay.

Because until the end, despite
there being this openness

towards Willy, he remains what
he is, that is, an entrepreneur.

Oh well, he has
to run the business,

cannot submit to
the demands of a...

Apprentice.

Of an apprentice, that is.

Among other things, let's remember, this thing
is true, in the sense, Willy really had it

had some problems with
one of his superiors, one of his

chef, he didn't work
in a starred restaurant.

No.

It was quite a restaurant, too,
let's say, normal, not anonymous,

in short, of a hotel that was on a highway,
if I'm not mistaken, and it wasn't...

Oh well, what we'll see in the end, which
we will understand in the end, it happened.

Actually, yes.

In reality, a little earlier, really,
but a little earlier than events.

Here is the car disease, because
you remember how much the

fact that, when we interviewed Willy's
friends, they came with these big cars

modified, they only talked about cars,
that we said, but in 2025 they remained

like when we
were little, that is...

We are now preparing leasing, which is
a slightly healthier practice, let's say.

Exactly, exactly.

It also prevents us from
becoming attached to cars.

He's good, it's true.

But when we were in high
school, everyone changed.

I remember, my first Clio,
Renault Clio, 18 years old, used,

those friends of mine all
editing, exhaust, control unit...

In your opinion, this thing falls away, the
love for cars, when they are stolen from you.

And to me, who had my car stolen, I
understood that I just had to take cars.

..

It's true, it's true.

Which, by the way, now I'm even
less worried when I get them back.

And I say, oh well.

My love for motorcycles
ended when they gave it to me

stolen from the house on
Valentine's Day, you're right.

That's how it is.

She was My girlfriend, so
they took my girlfriend away.

Oh you see.

How sad.

That's when you realize that objects
possess you, quoting Fight Club.

This scene... She's
crazy, nothing crazy.

She is very good, but so are
they, how they react to his charm...

I remember a little Lauren in an episode
of a film directed by Vittorio De Sica,

which is called La Riffa.

The Riffa, how?

I remember that character
a bit, courted by everyone.

But that she,
obviously, is Sofia Loren.

It's beautiful.

So, in short, you first have to
get to the level of my charisma.

Then you can ask me out.

This thing is true.

Yes, yes, this was a story that
Willy's friends had shown us.

Which, by the way,
had been published.

Yes, then they removed it.

Yes.

We have, let's say, on
set tried to make it identical.

That I have this content.

Obviously I won't divulge it.

It makes an impression.

Yes.

See the real Willy and Justin.

In fact, they had no idea.

Many videos from that evening,
before what happened happened.

He had a white Adidas t-shirt,
which is why I dressed him in white.

And it's impressive because
Justin actually remembers him a lot.

Also because this photo of him
always appeared in the newspapers

Willy with this big
smile, beautiful, little one.

But it was actually a photo
from when he had 15 years.

Yes, the first... When
he died he was 22.

The first thing that was misrepresented
is that we all initially believed that yes

it was a 17-year-old boy
beaten by thirty-year-olds.

In reality he was a 22 year old boy
who was killed by some of his peers.

Very tall too.

Very high.

In fact Justin is tall.

Maybe he's as tall as Willy.

And meanwhile the Whites were
smaller in stature, there were more of them

large in size, but smaller
in stature than him.

And this is one of the many
things that are misrepresented.

That is, the racial crime.

Yes.

The crime of two
adults against a boy.

This scene is from a true story,
because when we went to interview him

Willy's friends told us, one of
them who works as a guard in a

prison, which he
had recently seen

this boy who shot
himself because...

Toxic.

Like his mother, they hadn't allowed
him to be with his mother, and he was

shot because he couldn't
bear not seeing his mother.

I enter my building, I hear people
screaming, I look out there on the terrace,

and I see a guy who is a drug addict
who got out of prison a week ago.

Oh well, in short, he
shot himself in the mouth.

And there are two things
that struck me about this story.

The first is that the boy who
told it to us told it to us with a...

Naturalness, yes.

...sensitivity,
incredible naturalness.

It is true.

Disarming.

An everyday life.

Something that lives every day.

And the second is the relationship
with the mother, which is a

very important relationship
in the film in general.

One is missing.

Yes, in fact it was... it's a bit like when they
spoke to us in a slightly more extensive manner.

It's just that it was normal for us
to get into a fight every evening.

Over there.

And after Willy no.

No, in fact after Willy there
was an incredible change of pace.

But the fact is that if you went out in
the evening there was always a bit of fear

approaching a girl who could have
been someone else's girlfriend, etc.

It was normal for
a fight to break out.

So let's say everything that
happened before Willy's death was

an ordinary evening
from what they told us.

And then you remember that they told us that
they went to a lot of nightclubs and says

after Willy's death, the
one over there in EUR, now

We don't go there anymore
because it's a bit dangerous.

Yes.

We want to avoid.

They didn't think so before.

Oh no.

Here he was about to tell
him something important.

Yes, that seemed like
something negative.

Yes, it looked like an
argument with the chef.

Yes, with Renato.

We don't know what he is... because
he actually calls them Christian.

Oh yes, because he has problems.

Because it was supposed to
be his last night with Michelle.

And be careful how
friends influence us.

Yes.

He took her to eat pizza at

factory because Ginetto
recommended it to him.

Yes, yes.

If he had taken her to eat fish

it probably would have
been a different discussion.

Yes.

Because she wouldn't get
annoyed seeing the factory first thing.

It's all a coincidence
of guilt, let's say.

So he doesn't tell her.

He dies before telling
him what he had to tell him.

Yes.

And here we return to the scene of Vittorio's
phone call who, stirred up by... Yes.

From Cosimo.

He tells him, there are twenty of them, they
want to lead to Maurizio and his friend.

Yes.

And he even tells him to
tell him they have a gun.

There are thirty of them, here
they have already increased.

Exact.

Do you remember then in reality there was the
girl who went down to her friend and said...

Yes, yes, yes.

He said there are forty.

It was cut.

This is Noize Narcos which
before that is Ferri, right?

Yes.

And this is a moment that always
keeps everyone at the cinema a little...

Total silence.

Yes.

I remember the Rome festival,
there was truly an eerie silence.

And here you know
that the film is ending.

But more than anything, having built it
like this, that is, with Willy at the end,

as if at a certain point people
forgot that it's about Willy...

Yes, she's almost distracted.

Then you get closer to this
moment and they come to you

the shivers because you
say, this one will die soon.

Yes.

It really happened.

It's here, it's here.

Yes, yes, yes.

It is true.

Well, coming up with the
closest comparison I can get

in mind, any film about
the passion of Christ.

I mean, it's the story we all know,
but we regularly see those films.

And when that moment
comes... You feel bad.

Which is very long because it's
not just the crucifixion or death,

there's the whole
ordeal, torture, etc.

And they always make
us jump like the first time.

Like when we hear them in
catechism and we didn't have the films.

Yes.

As a comparison.

Moreover, the thing I always say,
I did many matinees with schools,

I always tell the kids, in the
newspapers they said that Willy

had been a hero who
saved a friend in difficulty.

No.

First of all I don't see Willy as a
hero, I see him as a very human being.

Certain.

Who performed a
gesture of great humanity.

And humanity is a
concept we stand by

moving away,
especially nowadays.

Yes.

And he didn't walk away from it.

Yes.

He didn't dive into it.

And the other thing, he
didn't help a friend in need,

separated two people,
he didn't even know one.

Yes, yes, yes.

That is, this is a
gesture of great altruism,

that is, he didn't want
anyone to get hurt.

It's not like he told
his friend just stop.

That is, he said to both
of them, get it over with.

Certain.

And for me personally
it's extraordinary.

And what a beautiful further thing, that is,
one of the two twins who arrives loaded with

buckshot because he just received
the phone call from Rossella.

Exact.

Which is Cosimo's
misunderstanding, no?

Yes.

Which in any case now Rossella calls
him, so he comes down even more pissed off.

These are our inventions.

But let's assume it went like
this because Rossella then

that night they found
her in the bar with them.

So how is it possible that the
night he was at the bar with them,

the night they fucked in the
cemetery, were you there?

Fuck wants to tupa.

And here this terrible scene.

As I said before it is one of the rare
moments in my life where I cry on a set.

Certain.

Also because as you
can see how it is shot.

Yes, that's exactly
how it happened.

That is, it was a
good hour in the dark.

Yes.

With a special focus
on here and there.

Yes.

Which is on the ground.

Which is already on
the ground, understand?

It's a terrible thing
that happened.

I feel bad now
even talking about it.

Yes.

It's a truly documentary thing.

I wanted the camera
to really be inside

with them and made you
feel the agitation, the madness.

And there was to
be no complacency.

It couldn't have been a pornographic
scene, it must have been a cold scene.

Like death.

That's the amazing thing
about these two that yes

they are actually
stuffed into the machine.

And here there is also a whole
question, there was a question at trial why

they started giving
each other shit.

Yes.

But why did they get
into the car with them?

Because they wanted
to be part of the group.

It's banal.

Because basically they also had to escape,
remove themselves from that situation.

Yes they had to, yes they
certainly had to escape, okay, but...

They brought that thesis on
purpose to separate the blame,

to establish a line.

Of course, in fact
now in the car.

Yes.

Then there's that wonderful
scene coming and them waiting,

they don't know anything,
they don't know that Will is dead.

The one in the car is gorgeous
too, Here's another wonderful scene.

The one in the car that happens
now, let's say, we have a bit...

How can I say, reworked,
meaning that these things that now

they happen in the car they
actually happened afterwards,

between them, between the
police station and the court.

It seemed more effective to do
everything here and this scene actually is.

They are extraordinary.

Yes.

Yes.

Borello is crazy.

But they were unmoved, that is.

They remain impassive,
he gives them the rings.

Everything you see...
Yes, yes, it's true.

Except it seems to have happened
in the bathroom of the club.

Yes, in short it all
happened a bit in time

different, but what
happened is all true.

There is an open question about Maurizio,
in the sense that out of 24 witnesses only 3

they say they saw
him kick a Willy.

Yes.

And indeed these three
are also linked to the Whites.

Yes, yes, yes.

So it was never clear
whether he gave it or not.

Despite being
sentenced to 21 years.

In the film I tried to stay
on one side, to be neutral.

So when everything is
there, I don't know if you did

case, he turns, starts to go
towards Willy and cuts away.

You don't know what happened.

The reason why he
defends himself in hiding.

The friend tells him, oh, you saw
him, you gave it to him, you hit him.

And he tells him, no I
did shit to him, it was you.

Because it has never been
understood, we will probably never know.

Now there are those who say he
gave it to them, he didn't give it to her.

I don't know.

I don't really know.

But... It doesn't wait for us.

No, it doesn't wait for us.

But surely what happened was
bizarre and a bit... I don't know.

This is very controversial.

This is a scene that you had to set,
among other things, for daytime needs.

This is still night.

This one was actually night.

Yes, yes.

I had to do it during the
day to empty the budget.

The famous nights.

The famous nights.

They cost, they
cost a lot of money.

Night surcharges, lights
that need to be placed.

Here is our Zenzola.

Cesco Zenzola.

What the title says.

Fetish actor who comes
on set to me and says I won,

I thought it took the people
over here 40 seconds.

So announces the title.

What do you say?

He shouldn't have said it.

Inevitably it ended
up in the trailer.

Obviously.

Thanks to this joke.

With a pose.

It's fantastic.

How great.

Sebastian.

Sebastiano Patanè is actually
a very good actor who, let's say,

he did me a favor
by doing this little part

because I wanted
friends to be in the film.

He really has the face...

Yes, as a cop.

From everything.

He has a bit of a
face for everything.

Yes, yes.

This is another scene.

In reality, here in the true
story Cosimo was break dancing.

It is true.

Something was invented here, or
rather, you can say he invented it.

..

Something even funnier.

Yes.

More relaxed.

This is a sequence
shot that I used because

I think it describes this
moment very well, right?

These pauses about the characters sitting or
doing nothing, the boredom, the spinning ball.

And if we go on
him doing this shit...

The sequences that is a
bit, how can I put it, it's like

our eye observing
them one after the other.

Oh mama.

Do you want to go
to the commissioner?

Oh come on.

But I'll show you something.

Let me see a little.

I don't know if you see it, eh.

Are you ready?

He is galvanized.

Commissioner.

Among other things after they
threw shit on each other in the car.

Yes, yes.

It was fun.

I've been going for 20 years...

Now here we collect a bit of what we
saw at the beginning of the film with the

sheep, that is, the young man who fools around,
he's on his cell phone, snorting at the old man.

Cosimo, who's always messing around, snorts because
he's picked up when he's released, sits down,

so instead he walks through
the woods, crosses the wind.

And at a certain point he finds
himself in front of a dead sheep.

Yes.

His expression changes
completely and he becomes worried.

The bargain this
scene, no, it is exactly

like this, that is,
Cosimo sitting casually.

Now the marshal will tell him, the
boy is dead and his expression changes.

Yes.

We're not playing anymore.

And the old man who looks at the
young man with his cell phone stands up.

The boy is dead.

Will you have more?

The Marshal already
needs these games.

Here with the production there had been a bit
of reticence at the moment in which now the

marshal gives him this
slap on the shoulder, right?

Because they said it looks like forces
Dell'ordine in qualche modo abusassero.

Let's use it on a boy.

Which of course I totally
disagree with, I didn't agree with

and we discussed this a lot
because what I tried to explain,

who then understood and above all
the public understood it, this is the thing

important, is that this, this slap
that gives him, look see, sit down

straight on the chair, it's not
like a policeman, it's as a parent.

Which releases tension.

It is as a professor, as a teacher
who says to the child, now get on

sitting on the chair, be quiet
and sit straight on the chair.

And for me that thing was fundamental
to the character of Leva, who is a

character who always seemed
somehow conciliatory to us.

But at that moment he can no longer be a
slave to his uniform, he becomes a father

who betrays himself with this gesture
of annoyance, this gesture of nerves.

Here several thousand euros of
damage have been done to the stains of the

police, because the people outside
actually didn't appear, but they are

people taken from the street, who
we asked to be extras, always for

this thing of Mine, the
truth, the truth, the truth.

And so obviously they lashed out
because many of them, let's say,

they do not have good
relations with justice.

Ninth.

When I told him, please, be
true, attack the stains of the

Carabinieri, they
couldn't wait, they started

throwing things, breaking
glass, panic happened.

But it had gone well, very well.

The clouds full of water
are about to cry, aren't they?

They are about to
mourn the death of a boy.

And here we see the arrival of his mother
all 'orbitory, it's a terrible scene.

Furthermore, Willy's
real sister, Milena,

he called me and said I'm
coming to visit you on the set.

We had never seen each
other, we had only spoken.

At first she was very
reluctant to be part of the film.

Then if you listen I've decided that I want
to meet you, I want to come to the set.

And I told him you can come whenever you
want and I gave her the orders of the day.

And she came just
on Dell day 'orbitatory.

And I felt terrible,
I thought this

now he relives that terrible
moment with his mother.

And it amazed me because it
had a crazy, incredible plomb.

He stood at the moment,
observed her in silence.

Among other things, I wanted the actress
who plays the mother not to touch the body,

didn't you see?

He makes that hand
gesture because mom can't.

And once the scene is over, the real sister
of Willy complimented me by saying...

In short, I really felt
like I was there again.

Tough, huh, Giuseppe?

I assure you it is heavy.

Very heavy.

Emotionally this
film blew me away.

I didn't think, I've never
made a film in all our life.

That is, in a yes sense, The Golden
Men l 'we had written among all our true.

But not like this, not with these
social and dramatic implications.

And here the clouds finally cry.

For Willy's death.

And the camera
lingers on these tiles.

On asbestos.

On asbestos.

The Ethernet.

To then slowly show us this little
square where everything happens.

Constantly we end up on the famous
wall where Willy, the real Willy, banged.

And then reality was a machine.

There was a car but
there was also the wall.

Oh, that's right.

Yes, yes, because they
were all cars parked around.

The shape of the building
wasn't exactly like that.

And then, no, you will remember, there
was the famous wall where they had put the

Roma shirts and
banners and things.

Now there is the monument.

Now there is a monument to him.

And here we go back
and find out what Willy...

Some even, some critics, he
compared this scene to fiction.

When suddenly John Travolta
comes back to life in the movie.

Because we take a step back and John
Travolta is... In Bruce Willis' bathroom.

Exact.

Before getting killed.

That's right, getting killed.

And immediately after, let's say,
the death of the henchman in the car.

When the bullet goes off.

Beautiful.

Here we find out
basically what it would have

Willy wanted to tell his
friends before he died.

That we are convinced that, let's say, in
the film, seeing it, we are convinced that...

Whether it's... I quit.

And instead?

And instead we
have an implication...

Well, basically whatever
he does gets fired.

Technically.

Technically, yes.

If we want to see
it that way, yes.

Justin was very good here.

You know that to do this scene
many people came to visit me on set.

Now Justin...

Famous.

I love him dearly.

But, let's say, he's not an actor
and it was a lot of effort with him.

Oh well... He admits it too.

In this scene inside the
kitchen to make him act

I actually had to
invent the traguses.

One of the things we did at
breakneck speed were push-ups.

Because unfortunately he
couldn't get her out of his head

his... he's rightly not
an actor... His beliefs.

His being not Willy but Justin.

Certain.

He couldn't do a lot of stuff.

And so I make him
do a bunch of push-ups

to break the breath,
the afterthought.

Certain.

In short for... That's why you
also told Josaphat to hurt him.

I told Josaphat to
be very aggressive.

Josaphat helped me a lot.

He was very aggressive.

There was the
backstage that I edited.

You can see me talking
to Justin before every joke.

I munch it all up.

I tug at him.

I often hurt his stomach.

Not bad in the
sense... I hurt him a lot.

I mean I squeeze his stomach
to make him feel the grip.

And then let go of your hands.

I run to the monitor and say go.

Here is a great
Maurizio Lombardi.

A great Maurizio Lombardi, yes.

Here I hope that this scene
becomes that on social media

which became Battistone's
scene in the body.

There is My greatest ambition.

I'm very happy that
that scene was...

It ended up on various
sites, among other things.

On various pages.

Battistone's monologue.

The bookmark.

Various pages by
psychoanalysts, among other things.

But I expect this one
too any moment now.

I have to put it on.

Because in my opinion it also
represents our work for certain.

That is, we don't expect people
to love or enjoy what we do.

Nor that he understands it.

But we really love doing it.

We love making films to death.

It speaks a bit about
us, in my opinion, this.

He says it in the interview.

He said it applies to the kitchen, it
applies to cinema, it applies to art.

Everything is art.

Then, among other things, Sorrentino
said a phrase recently that I find

very appropriate for
those who do our job.

Cinema is a job
based on dissipation.

Yes, I felt it was very nice.

Which is beautiful.

Most of those
forces are dispersed

to create a Beautiful
shot, a Beautiful scene.

They probably won't
even get caught, because it

spectator at that moment
will be distracted at the cinema.

And the fact that he
made peace with it

what, you don't even
bother him that much.

Apart from that it's a great
zen approach to this job.

But... He Tocai
or he Sorrentino?

Sorrentino, but also Tocai.

Because Tocai understood it too.

So perhaps we understood it
before Sorrentino said it in that way.

Exact.

Basically he's saying...

We do what we like.

Regardless of how long people
queue to come to our restaurant.

How much they spend.

And if they come here only to
take photographs and not to eat.

We do it for us.

Yes, exactly.

The quality.

It's about quality.

This ghettoization, this caste
divided by that door, says it well.

I mean, we're on
this side of the screen,

of the camera, etc. etc.

Here we do as I say.

But that's what I
was saying before.

Sergio Rubini says... Quality is
always the result of an intelligent effort.

Luca tells him...
You drink like crazy.

But then he comes and tells
you... But it's not important.

It is true.

The important
thing is for yourself.

You don't do it for the world.

Yes, yes.

Perhaps Rubini was saying
it in general for the world.

Instead he says... But you
don't have to do it for the world.

Neither of you are right.

Yes.

You have to do it for yourself.

Then if the world
likes it... So be it.

And there you are a genius.

There...

Here, in addition to starting the piece of
Apparat Blackwater with whom we wrote

the scene... Before writing the whole
film there was already this music...

Which was supposed to be in Bad Guy, an
episode that unfortunately we didn't use.

That's better.

It's fairer here though.

Bravo.

Yes.

AND...

This is a sequence
shot that starts now.

I wanted to leave the
restaurant and be with him

with his last smile
and close on him.

Because I've always said...
This film is not a film about death.

But it's a film about life.

But you talk about life
going through a death.

A terrible death.

But if we had finished the film
about death... On the Wailing Wall...

It would have been
a depressing movie.

And instead... Although
this scene is dramatic...

Because he made it
but then he still dies.

But it leaves you with hope.

The most important hope.

Which?

How important it is
to have a dream in life.

A goal.

And unlike his cottons
he actually had a goal.

And he was pursuing it.

Which is why his
death is even more

tragic but remains
even more inspiring.

And here is another
idea from Giancarlo.

The movie.

It has a happy ending.

The film had a happy ending.

And it has a happy ending.

Giancarlo Fontana told us.

And it has a happy ending.

Somehow.

A bit like Good Morning Night.

Exact.

Let's say.

Even if different.

That one though... Yes exactly.

It is a form of uchronia.

Which Tarantino also used.

Let's kill Hitler.

Let's save Sharon Tate.

And here I really thank
Justin for doing it in one take.

It's crazy.

It's more of a more
beautiful sequence.

Let's say Apparat
Justin Lombardi here.

A divine trinity in this finale.

A trident here.

Furthermore, the news recently came
out that they confirmed the life sentence.

I was seeing the signs.

Gabriele Bianchi.

Gabriele Bianchi yes.

All right.

Me seeing these images that remind us Willy I
would like to greet whoever is listening to us.

Hoping that what we said.

Hoping that whoever sees this film will
understand that arrogance, that survival.

That the overwhelm.

That the idea of destroying others
instead of creating something.

Just like Willy creates something
beautiful at the end of the film.

It will always be
considered a huge bullshit.

And I add if you liked
this film, talk about it.

It's important.

If you didn't like it...

yours.

And with this we close.

But we end well.

Let's close well.

Dedicated to Willy.

Absolutely dedicated to Willy and
all the victims of senseless violence.

Which unfortunately
continue to be there.

HI.

Hello lads.

HI.

HI.