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1
00:00:02,212 --> 00:00:08,927
It's pivotal, the poo scene
in this movie.
2
00:00:09,052 --> 00:00:11,804
But what was he eating? Chocolate...
3
00:00:13,515 --> 00:00:15,725
with candied fruit, see?
4
00:00:17,143 --> 00:00:21,356
And I enjoyed it because I am an artist.
5
00:00:21,481 --> 00:00:24,442
At one point
you see this girl vomiting in the movie.
6
00:00:24,859 --> 00:00:25,944
She vomited for real.
7
00:00:26,069 --> 00:00:29,155
What's shocking about
eating chocolate with candied fruit?
8
00:00:29,280 --> 00:00:31,324
(ACTRESS FROM SALO)
9
00:00:31,407 --> 00:00:36,246
Yeah, the atmosphere was very tense.
10
00:00:36,371 --> 00:00:37,997
It seemed almost real.
11
00:00:38,164 --> 00:00:41,292
It felt real
12
00:00:41,543 --> 00:00:43,795
because it was always very quiet...
13
00:00:43,920 --> 00:00:49,259
(ACTOR FROM sALo) You are a good artist,
enjoy the chocolate with candied fruit.
14
00:00:49,717 --> 00:00:53,805
You'll have to enjoy it for the audience.
15
00:00:54,597 --> 00:00:58,518
And the more you enjoy it,
the more terrible that scene will be.
16
00:00:58,643 --> 00:01:04,399
I'll tell you more,
over the months we were so excited
17
00:01:04,482 --> 00:01:06,484
in those situations
18
00:01:06,568 --> 00:01:09,237
that we almost got into our characters.
19
00:01:09,320 --> 00:01:13,700
I don't know,
we may have been drinking something...
20
00:01:13,866 --> 00:01:17,870
but there was something sinister
about those characters,
21
00:01:17,954 --> 00:01:19,789
they were very scary.
22
00:01:19,914 --> 00:01:20,957
To me
23
00:01:21,541 --> 00:01:23,293
it was a big game
24
00:01:24,002 --> 00:01:27,088
and, perhaps,
Pier Paolo felt the same way.
25
00:01:27,213 --> 00:01:30,466
We were pretty disgusted
because of what they made us do
26
00:01:30,550 --> 00:01:33,469
also because there was no script,
27
00:01:33,553 --> 00:01:36,639
where we could read what was next for us.
28
00:01:37,056 --> 00:01:38,766
We were told what to do day by day,
29
00:01:38,850 --> 00:01:43,271
so some scenes were particularly...
30
00:01:43,688 --> 00:01:47,567
Yeah, sometimes we thought
they were very controversial.
31
00:01:47,650 --> 00:01:49,861
Take, for instance,
the scene with the dogs.
32
00:01:50,778 --> 00:01:52,780
We were not thinking about the after,
33
00:01:52,864 --> 00:01:54,782
but just about what
we were doing in that moment.
34
00:01:54,991 --> 00:01:56,451
It is amazing, of course.
35
00:01:56,534 --> 00:01:58,870
That makes me think,
and made me think back then,
36
00:01:59,704 --> 00:02:03,750
about the difference
between the game in that moment
37
00:02:04,334 --> 00:02:07,462
and in the scene.
38
00:02:07,587 --> 00:02:10,173
He used to delegate.
He was always in a corner.
39
00:02:12,008 --> 00:02:16,679
I've never seen Pier Paolo Pasolini
talking aloud and explaining things.
40
00:02:16,763 --> 00:02:20,099
He used to delegate.
He was really on his own.
41
00:02:20,224 --> 00:02:24,562
I knew him because a few years before
I was doing theatre.
42
00:02:26,397 --> 00:02:31,319
I knew his mum as well, Susanna.
43
00:02:32,487 --> 00:02:34,322
I was doing theatre with the writers
44
00:02:34,405 --> 00:02:39,118
and Pasolini was interested in this type
of work we were doing in Rome.
45
00:02:39,243 --> 00:02:44,207
I spoke with Pier Paolo's friend
46
00:02:44,957 --> 00:02:48,211
about the fact that he ignored us.
47
00:02:48,670 --> 00:02:53,716
I thought nothing would have happened,
48
00:02:53,883 --> 00:02:57,512
instead he really showed me
49
00:02:57,595 --> 00:03:01,265
he was responsive and helpful.
50
00:03:01,641 --> 00:03:06,312
The following day he invited me to lunch.
51
00:03:06,437 --> 00:03:13,736
He told me, "This scene is awful,
read it and tell me what you think."
52
00:03:14,529 --> 00:03:17,865
We spoke about abortion
and problems of youth.
53
00:03:18,533 --> 00:03:25,415
He shared his view on this wild youth.
54
00:03:25,498 --> 00:03:29,585
It was 30 years ago, can you imagine?
55
00:03:29,711 --> 00:03:33,339
I must say we became a tight team.
56
00:03:33,423 --> 00:03:34,465
He used to come to me
57
00:03:34,549 --> 00:03:39,345
when he needed someone
who had experience in playing.
58
00:03:39,429 --> 00:03:44,183
I have some funny stories
to tell about other actors.
59
00:03:44,267 --> 00:03:49,605
There were actors
who couldn't say certain words.
60
00:03:49,731 --> 00:03:51,733
When you left the set,
61
00:03:53,151 --> 00:03:58,322
it felt like you were somewhere else,
not back to reality, but somewhere else.
62
00:03:58,448 --> 00:04:00,742
Eat and enjoy it
and you'll be a great artist.
63
00:04:55,671 --> 00:04:57,215
I've never watched Salo',
64
00:04:57,298 --> 00:05:02,220
even though once
I ended up in a cinema by accident
65
00:05:02,345 --> 00:05:08,226
and I found out Salo was on, so I left...
66
00:05:09,352 --> 00:05:12,814
It was like watching something
67
00:05:12,897 --> 00:05:16,275
I had to have nothing to do with.
68
00:05:16,776 --> 00:05:23,991
I decided not to watch it
because of this big responsibility
69
00:05:24,116 --> 00:05:26,661
I felt for this movie.
70
00:05:27,119 --> 00:05:31,123
THE END OF SALO
It's personal to me.
71
00:05:31,249 --> 00:05:35,253
Back then I suggested to Pier Paolo
72
00:05:35,336 --> 00:05:38,089
to make Salo'...
73
00:05:38,172 --> 00:05:40,091
SCREENWRITER
74
00:05:40,174 --> 00:05:44,637
...because it was a movie we had written
for Sergio Citti a long time ago.
75
00:05:44,762 --> 00:05:47,598
I knew he was working on this movie and...
76
00:05:49,600 --> 00:05:52,228
I went many times to the production,
PEA. It was in the Eur area.
77
00:05:52,311 --> 00:05:54,397
ASSISTANT DIRECTOR
78
00:05:55,147 --> 00:06:00,403
I used to go see Umberto Angelucci,
his right-hand man,
79
00:06:00,945 --> 00:06:04,282
to ask him if I could be his assistant.
80
00:06:04,365 --> 00:06:06,742
They always said, "N0 way."
81
00:06:07,159 --> 00:06:10,997
It wasn't possible, the movie was hard
82
00:06:11,080 --> 00:06:15,793
and Pier Paolo didn't want
a woman as his assistant.
83
00:06:15,877 --> 00:06:20,548
I don't know why,
I was very determined to get this job,
84
00:06:22,508 --> 00:06:24,886
but they always said I couldn't.
85
00:06:26,804 --> 00:06:29,640
In the end, I thought,
"Fair enough, I can't work on this movie."
86
00:06:29,807 --> 00:06:34,770
But then, Umberto called me and said,
"Pier Paolo wants to see you tomorrow.
87
00:06:39,025 --> 00:06:43,529
"He wants to talk to you
in his hotel at 7:30."
88
00:06:43,654 --> 00:06:47,950
I was an executive screenwriter,
not a creative one.
89
00:06:48,534 --> 00:06:51,996
I had to check the notes I was taking
90
00:06:52,747 --> 00:06:55,333
during those long meetings
91
00:06:55,917 --> 00:06:58,169
and then there was the work by de Sade
92
00:06:58,252 --> 00:07:03,257
and the one by Baudelaire.
93
00:07:03,341 --> 00:07:06,636
With these three sources
94
00:07:07,011 --> 00:07:10,348
it was very hard to go wrong.
95
00:07:10,473 --> 00:07:12,767
The funny thing is that, that morning
96
00:07:12,850 --> 00:07:16,687
he started to talk about the songs
he wanted for the movie...
97
00:07:17,021 --> 00:07:18,064
old songs.
98
00:07:21,651 --> 00:07:24,528
My father had made some movies about that.
99
00:07:26,405 --> 00:07:27,448
S0 I...
100
00:07:28,783 --> 00:07:30,368
I was a lot younger than Pier Paolo,
101
00:07:30,451 --> 00:07:34,080
so I shouldn't have known those songs,
102
00:07:34,664 --> 00:07:37,416
but since everyone at mine
used to sing them,
103
00:07:37,875 --> 00:07:41,796
we started to sing and talk about it
104
00:07:41,879 --> 00:07:45,383
and about which one was the best song.
105
00:07:45,549 --> 00:07:46,592
And so...
106
00:07:49,512 --> 00:07:51,847
I ended up working as his assistant.
107
00:07:51,973 --> 00:07:56,352
I remember we used to meet up
at his place in Eufrate street
108
00:07:56,852 --> 00:08:00,356
and spend the afternoon together.
109
00:08:00,439 --> 00:08:04,986
There were his mom and his niece,
110
00:08:05,486 --> 00:08:07,488
clearing the table in the room next to us.
111
00:08:07,571 --> 00:08:11,867
S0 I remember these noises
and this very familiar talking.
112
00:08:12,243 --> 00:08:17,873
There was a certain continuity between
this awful world, this terrifying hell
113
00:08:18,541 --> 00:08:24,839
and the everyday more reassuring things,
such as that noise from the kitchen.
114
00:08:24,964 --> 00:08:27,591
At first I didn't know how hard it was,
115
00:08:27,675 --> 00:08:31,137
but I knew some scenes
were very tough for the girls.
116
00:08:31,220 --> 00:08:32,263
A bit...
117
00:08:34,181 --> 00:08:35,975
...because Umberto had told me.
118
00:08:36,100 --> 00:08:40,604
Pasolini was sitting there,
I was here and Sergio Citti was there.
119
00:08:40,938 --> 00:08:44,734
To be honest, Sergio Citti
and I didn't say a word.
120
00:08:45,151 --> 00:08:47,528
That's the absolute truth.
121
00:08:49,864 --> 00:08:52,908
When I didn't understand,
I asked questions.
122
00:08:52,992 --> 00:08:54,076
I took notes
123
00:08:54,160 --> 00:08:58,456
and he had done his research.
124
00:08:58,873 --> 00:09:02,168
I mean, he had read the part of the book
125
00:09:02,251 --> 00:09:06,464
he wanted to represent.
126
00:09:07,381 --> 00:09:08,883
S0 he gave me instructions.
127
00:09:09,800 --> 00:09:12,553
I'm not saying it was a dictation.
128
00:09:12,636 --> 00:09:17,224
It was some kind of explanation
129
00:09:17,391 --> 00:09:19,602
of what he expected from me.
130
00:09:19,727 --> 00:09:21,562
I'm saying this because...
131
00:09:24,607 --> 00:09:28,152
when I met Pier Paolo,
and during the movie as well,
132
00:09:28,235 --> 00:09:31,947
even if the movie was scary,
133
00:09:32,865 --> 00:09:34,116
he was very cheerful.
134
00:09:34,241 --> 00:09:38,287
It's important to say that
I wasn't writing a Pasolini movie.
135
00:09:38,370 --> 00:09:41,499
I was writing a movie
with Pasolini for Sergio Citti.
136
00:09:41,999 --> 00:09:43,876
Sergio Citti was supposed to make it.
137
00:09:44,210 --> 00:09:49,298
S0 Sergio Citti was there because he was
the intended recipient of this script.
138
00:09:49,381 --> 00:09:53,344
Somehow, starting from it,
he was supposed to make his own movie.
139
00:09:53,469 --> 00:09:59,100
The way he looked,
the way he acted after shooting a scene
140
00:09:59,767 --> 00:10:03,187
was very cheerful.
141
00:10:03,270 --> 00:10:05,815
In a sense that...
142
00:10:07,191 --> 00:10:08,234
How should I put it?
143
00:10:08,484 --> 00:10:13,072
He softened what we were doing,
144
00:10:13,239 --> 00:10:16,325
the quite distressing things we were doing.
145
00:10:16,408 --> 00:10:17,618
Indeed, they were very distressing.
146
00:10:17,701 --> 00:10:20,579
We shot a scene,
but then it was cut from the movie.
147
00:10:22,665 --> 00:10:24,458
I thought it was the final scene.
148
00:10:25,042 --> 00:10:29,004
The crew was dancing.
149
00:10:30,005 --> 00:10:31,340
We were all dancing.
150
00:10:31,924 --> 00:10:35,636
I remember that Pier Paolo
really cared about this scene.
151
00:10:35,803 --> 00:10:38,389
In fact, we went to a dance class.
152
00:10:38,514 --> 00:10:41,308
The dance scene was shot.
153
00:10:41,392 --> 00:10:45,146
It was clear that the crew was dancing,
including Pier Paolo.
154
00:10:45,229 --> 00:10:49,483
ASSISTANT EDITOR
He was dancing with Ernesto Urgello.
155
00:10:50,568 --> 00:10:54,655
The mush was Pinguino Innamorato.
156
00:10:54,905 --> 00:10:58,492
Nananana
157
00:10:58,576 --> 00:11:01,453
When I listen to that song
I still get goosebumps
158
00:11:01,537 --> 00:11:05,040
because it reminds me of that great time.
159
00:11:05,374 --> 00:11:07,751
This scene, though, wasn't the final one.
160
00:11:08,252 --> 00:11:09,295
It was shot...
161
00:11:09,378 --> 00:11:12,756
I still remember, it was action 101...
162
00:11:13,674 --> 00:11:16,260
It was shot for the opening credits.
163
00:11:16,510 --> 00:11:17,887
It was a game.
164
00:11:17,970 --> 00:11:22,308
"Let's shoot it and then we'll see."
165
00:11:22,433 --> 00:11:24,351
Then after a long time,
166
00:11:25,686 --> 00:11:32,401
I ended up in this restaurant
in Campo dei Fiori (Rome)
167
00:11:32,484 --> 00:11:37,865
with Giovanni Bertolucci,
who was my producer at the time.
168
00:11:38,532 --> 00:11:43,204
Next to us there was my friend
Laura Betti with Pier Paolo Pasolini.
169
00:11:43,829 --> 00:11:47,374
When I asked him what he was doing,
he said... WORK BY BAUDELAIRE
170
00:11:47,458 --> 00:11:50,002
...he was going to make a movie
about the life of Saint Paul,
171
00:11:50,085 --> 00:11:52,254
starring M. Brando...
PASOLINl'S UNDERLINING
172
00:11:52,338 --> 00:11:57,176
...but an American major
started second-guessing the movie.
173
00:11:57,927 --> 00:12:03,098
S0, I don't know why,
174
00:12:03,432 --> 00:12:04,975
I asked him, "Why don't you make Salo?"
175
00:12:06,352 --> 00:12:09,521
And he said,
"I don't even have the script."
176
00:12:10,105 --> 00:12:11,232
I said I had it.
177
00:12:11,482 --> 00:12:14,860
S0 I gave him de Sade's book
178
00:12:14,944 --> 00:12:19,573
and I also gave him
the 720 Days 0f Sodom...
179
00:12:20,658 --> 00:12:23,619
...script.
180
00:12:23,702 --> 00:12:26,914
That's why you don't see me anywhere.
181
00:12:26,997 --> 00:12:28,832
L was called by a lawyer,
182
00:12:29,416 --> 00:12:33,170
who worked, at Grimaldi's firm
and probably still does.
183
00:12:33,254 --> 00:12:35,256
PASOLINl'S ORIGINAL NOTES ON THE MOVIE
184
00:12:35,339 --> 00:12:37,841
He told me they were willing
to buy the rights...
185
00:12:41,095 --> 00:12:44,098
...if I accepted to never show up
186
00:12:45,349 --> 00:12:47,268
and I said it was okay with me.
187
00:12:47,851 --> 00:12:51,188
They paid me, so I got paid twice.
188
00:12:51,522 --> 00:12:53,274
I blame my zeal
189
00:12:53,857 --> 00:12:57,111
because I went twice
190
00:12:59,905 --> 00:13:03,450
to Pier Paolo Pasolini's
191
00:13:03,534 --> 00:13:04,994
to bring him the script
192
00:13:06,453 --> 00:13:11,292
and that's probably what persuaded him,
193
00:13:11,375 --> 00:13:12,835
because then he made the movie.
194
00:13:13,043 --> 00:13:15,504
In this movie
195
00:13:15,587 --> 00:13:20,467
there are so many elements
196
00:13:20,551 --> 00:13:21,969
connected to death,
197
00:13:22,553 --> 00:13:25,014
and the movie itself is so gloomy,
198
00:13:25,681 --> 00:13:29,852
with an absolute negativity
199
00:13:29,935 --> 00:13:32,021
and without any hope,
200
00:13:33,689 --> 00:13:39,695
so somehow it was easily connected
to Pier Paolo's death,
201
00:13:39,778 --> 00:13:43,073
because his death, as well,
was this absolute darkness.
202
00:13:43,240 --> 00:13:46,285
A part of our lives was falling
into the darkness
203
00:13:46,368 --> 00:13:48,078
and so was a part of the world.
204
00:13:48,537 --> 00:13:54,168
S0 I kind of felt responsible.
205
00:13:57,421 --> 00:14:01,717
Salo' was completely different
from the other movies.
206
00:14:01,842 --> 00:14:06,263
Especially, before that,
I worked on Trilogy of Life and Medea
207
00:14:06,347 --> 00:14:09,266
as assistant production designer.
208
00:14:09,600 --> 00:14:11,602
Those images were very symbolic.
209
00:14:11,685 --> 00:14:16,857
We went for an old farmhouse near Mantua.
210
00:14:16,940 --> 00:14:17,983
PRODUCTION DESIGNER
211
00:14:18,067 --> 00:14:23,822
This farmhouse didn't have the deco
212
00:14:23,906 --> 00:14:25,657
and fascist style.
213
00:14:25,824 --> 00:14:31,163
The most important thing was
that we wanted to add some painting.
214
00:14:32,039 --> 00:14:36,919
I don't know what to call it,
the forbidden painting.
215
00:14:37,086 --> 00:14:40,589
What's the word I'm looking for?
216
00:14:40,881 --> 00:14:43,842
I mean, the painting
rejected by the regime.
217
00:14:44,009 --> 00:14:46,887
It was a bit like
when they were burning books.
218
00:14:46,970 --> 00:14:49,473
Back then, only one type
of culture was allowed.
219
00:14:49,556 --> 00:14:50,557
It was the fascist one.
220
00:14:51,183 --> 00:14:55,771
S0 we looked for some elements
221
00:14:55,896 --> 00:14:58,607
to add to this farmhouse.
222
00:14:58,690 --> 00:15:04,738
Actually, they were
two farmhouses near Mantua.
223
00:15:05,322 --> 00:15:07,449
The farmhouse itself had no style,
224
00:15:07,616 --> 00:15:11,453
we gave style to it by adding
225
00:15:12,246 --> 00:15:14,915
some accurate and targeted elements.
226
00:15:14,998 --> 00:15:20,629
For example, mirrors, lamps and carpets.
227
00:15:20,754 --> 00:15:22,965
What I remember
about these movies is that...
228
00:15:26,552 --> 00:15:31,140
in life you can get used to anything.
229
00:15:32,891 --> 00:15:35,144
At first
230
00:15:35,227 --> 00:15:39,731
it was weird to see this group
of naked boys and girls on set.
231
00:15:40,441 --> 00:15:44,027
And then that farmhouse
in Mantua was cold.
232
00:15:44,111 --> 00:15:45,529
I mean, it was quite impressive.
233
00:15:45,612 --> 00:15:47,906
But after a while, we got used to it.
234
00:15:48,657 --> 00:15:54,413
Like, the effects men were making...
235
00:15:55,205 --> 00:15:56,248
How should I say it?
236
00:15:56,540 --> 00:15:58,876
Poo? Shit? To eat.
237
00:15:58,959 --> 00:16:01,545
S0 they were simply saying,
"Bring me a can of shit."
238
00:16:01,879 --> 00:16:04,506
I mean, after a while
everything seemed normal.
239
00:16:04,590 --> 00:16:09,678
At first everything was a bit too much,
240
00:16:09,761 --> 00:16:12,639
like, "What's that?"
241
00:16:13,056 --> 00:16:14,725
But then you kind of get used to it.
242
00:16:14,850 --> 00:16:17,811
I remember
243
00:16:17,895 --> 00:16:22,107
that the only time
244
00:16:22,191 --> 00:16:27,112
that Citti wasn't just there,
245
00:16:27,529 --> 00:16:29,573
but was actually talking,
246
00:16:29,948 --> 00:16:34,495
it was when he said,
"N0, it's a bit too much."
247
00:16:35,037 --> 00:16:38,916
"I think it's a bit too much, Paolo."
248
00:16:39,249 --> 00:16:42,878
And Paolo used to say, "Are you joking?
It's the most amazing thing."
249
00:16:43,253 --> 00:16:46,507
He didn't want to be censured by Citti.
250
00:16:46,840 --> 00:16:51,595
I agreed with Citti,
but I didn't dare say anything.
251
00:16:51,845 --> 00:16:53,639
I thought everything was a bit too much.
252
00:16:59,102 --> 00:17:03,607
Pasolini was 17
when he attended his first cineforum.
253
00:17:03,690 --> 00:17:06,735
It was in Bologna,
with Roberto Longhi's lessons.
254
00:17:07,110 --> 00:17:09,571
He was the greatest art critic
of his time in Italy,
255
00:17:10,072 --> 00:17:12,908
with his slide shows of paintings.
256
00:17:12,950 --> 00:17:14,117
PORTRAIT OF R. LONGHI
257
00:17:14,117 --> 00:17:18,330
in that moment cinema -
Pasolini explicitly used this word -
258
00:17:18,413 --> 00:17:23,168
started to act within him
even as a mere reproduction of pictures.
259
00:17:24,795 --> 00:17:28,674
His shots are based on principles
as solid as travertine.
260
00:17:30,133 --> 00:17:32,010
The figure stands out
against the background,
261
00:17:32,553 --> 00:17:34,388
as in the typical painting
of the 15th century,
262
00:17:34,471 --> 00:17:36,390
but also
as in the early glance of humanity.
263
00:17:37,266 --> 00:17:41,228
His shots do nothing but seek
the enchantment of looking at something,
264
00:17:41,770 --> 00:17:46,149
the landscape of a face,
of an urban prairie, a house,
265
00:17:46,817 --> 00:17:50,904
as if he suddenly found himself
at the dawn of men on earth.
266
00:17:52,406 --> 00:17:55,284
Pasolini's movies are composed
of sequences of big panels
267
00:17:55,492 --> 00:17:57,786
that run as stanzas of a ballad.
268
00:17:58,120 --> 00:18:01,790
The bodies are the main characters
where the shoulders,
269
00:18:02,207 --> 00:18:03,417
the light of the eyes,
270
00:18:03,542 --> 00:18:07,254
the line of the eyebrows,
the uneven line of the teeth
271
00:18:08,171 --> 00:18:11,008
and the severe masterpiece
of their own symmetry stand out.
272
00:18:12,801 --> 00:18:16,054
When he arrived in Rome,
he couldn't believe he found a humanity
273
00:18:16,179 --> 00:18:19,016
who lived for millennia
in the shadows of society and history.
274
00:18:20,392 --> 00:18:23,645
It was as sceptical and fatalistic
as the urban plebs of its ancestors,
275
00:18:23,979 --> 00:18:26,607
who lived in the same places
in the end of the Roman Empire.
276
00:18:27,274 --> 00:18:30,235
People's lives
were only based on need of movement
277
00:18:30,319 --> 00:18:31,778
and desires of the body,
278
00:18:32,154 --> 00:18:34,323
shaken up by bursts of euphoria,
279
00:18:34,448 --> 00:18:36,950
cruelty, shyness and fear,
280
00:18:37,951 --> 00:18:41,955
that always precede the immense joys
of sex, according to Pasolini.
281
00:18:43,665 --> 00:18:45,584
But what really took his breath away
282
00:18:46,084 --> 00:18:48,337
was resignation, melancholy
283
00:18:48,920 --> 00:18:52,174
and the terrible innocence
they lived the gift of owning a body with,
284
00:18:52,674 --> 00:18:54,092
completely unaware of themselves.
285
00:18:55,761 --> 00:18:58,221
If the writer is someone who needs,
in order to describe life,
286
00:18:58,639 --> 00:19:00,807
to have a tormented nostalgia
287
00:19:00,891 --> 00:19:03,644
for its intensity,
completeness and purity,
288
00:19:04,394 --> 00:19:06,063
according to what Pasolini himself wrote,
289
00:19:06,688 --> 00:19:10,901
cinema in his eyes,
multiplied to infinity this miracle.
290
00:19:11,985 --> 00:19:13,028
N0 language,
291
00:19:13,111 --> 00:19:14,738
except the language of images and sounds,
292
00:19:15,030 --> 00:19:17,532
could be as full of reality
293
00:19:17,949 --> 00:19:19,242
as the shot of a movie.
294
00:19:19,910 --> 00:19:22,329
N0 word can secrete so much life
295
00:19:22,829 --> 00:19:24,581
as much as the cinematographic image.
296
00:19:26,083 --> 00:19:27,376
That's Pasolini's cinema.
297
00:19:28,251 --> 00:19:30,629
It is something
that has the same grace and light
298
00:19:31,380 --> 00:19:33,965
of a Romanesque church
surrounded by equestrian monuments
299
00:19:34,383 --> 00:19:36,218
and giant shopping centres.
300
00:19:39,680 --> 00:19:41,431
First of all I was an actor.
301
00:19:42,599 --> 00:19:44,643
I made a movie called Sierra Maestra.
302
00:19:46,019 --> 00:19:47,813
Here I was playing Emilio,
a war photographer.
303
00:19:47,813 --> 00:19:52,025
Here I was playing Emilio, a
war photographer. PHOTOGRAPHER
304
00:19:52,109 --> 00:19:54,403
And from the 1970s my life changed.
305
00:19:55,445 --> 00:19:59,658
Ansano Giannarelli gave me
the chance to make this movie.
306
00:19:59,825 --> 00:20:03,995
Back then, I'd already done
a lot of theatre, cinema and TV in France,
307
00:20:04,079 --> 00:20:07,165
but it was after this movie
that my life changed in Italy.
308
00:20:07,833 --> 00:20:10,085
Visconti, who watched this movie,
309
00:20:10,168 --> 00:20:17,426
was the first one to invite me on set
to take 2 or 3 pictures.
310
00:20:17,676 --> 00:20:22,514
Back then, I showed those pictures
to many press offices.
311
00:20:22,931 --> 00:20:30,063
S0 in one of those offices
I met the great Simon...
312
00:20:31,398 --> 00:20:33,275
He sees those pics and says,
313
00:20:33,358 --> 00:20:36,153
"I am the one
who will bring Italian cinema to France.
314
00:20:37,237 --> 00:20:38,447
"D0 you want to work with me?"
315
00:20:38,655 --> 00:20:43,535
Simon spoke with Pasolini
to make this movie.
316
00:20:43,618 --> 00:20:45,370
He said, "I'll send you
a young photographer
317
00:20:45,454 --> 00:20:48,373
"to have a photo shoot on this movie."
318
00:20:49,374 --> 00:20:50,417
Pasolini says no.
319
00:20:51,877 --> 00:20:53,336
That set is absolutely forbidden.
320
00:20:53,420 --> 00:20:54,463
It's closed.
321
00:20:54,713 --> 00:20:57,257
I went to Cinecitta
to look for Pasolini.
322
00:20:57,340 --> 00:20:59,676
Of course, he was very busy
and couldn't do it.
323
00:21:00,177 --> 00:21:03,180
S0 by chance I met Fellini,
324
00:21:03,847 --> 00:21:07,851
who introduced me to Pasolini.
It simply happened. I was lucky.
325
00:21:08,935 --> 00:21:13,607
I was lucky he introduced me
326
00:21:14,065 --> 00:21:17,444
because then
Pasolini accepted my offer.
327
00:21:17,903 --> 00:21:19,821
"You can come for your photo shoot.
328
00:21:19,905 --> 00:21:21,531
"Unfortunately, the movie's almost done.
329
00:21:21,907 --> 00:21:25,035
"There are a few scenes left,
the wedding party
330
00:21:25,702 --> 00:21:27,621
"and the torture."
331
00:21:28,246 --> 00:21:32,000
"And here, my dear friends,
an even stronger certainty is born..."
332
00:21:32,125 --> 00:21:35,921
"...the greatest pleasures come
from the most vile source."
333
00:21:36,046 --> 00:21:41,218
"From now on here's the doctrine
we'll have to follow..."
334
00:21:41,343 --> 00:21:44,554
"...the more you're looking for pleasure
in the profundity of crime,
335
00:21:45,347 --> 00:21:47,599
"the more your crime
will have to be terrible."
336
00:21:47,724 --> 00:21:50,936
"Very well. D0 you think is it possible
337
00:21:51,019 --> 00:21:53,897
"to commit such crimes
very much like your minds crave?"
338
00:21:54,022 --> 00:21:57,150
"I must admit that my imagination
339
00:21:57,734 --> 00:22:02,113
"has always far exceeded my faculties."
340
00:22:02,239 --> 00:22:04,241
"I lack the means to do what I'd like to.
341
00:22:04,699 --> 00:22:08,537
"L have imagined hundred times more and
better than what I actually did in the end
342
00:22:09,246 --> 00:22:11,998
"and I've always complained
about the nature that,
343
00:22:12,582 --> 00:22:17,212
"gives us the desire to outrage it,
but denies ourselves the means to do so.
344
00:22:18,588 --> 00:22:21,591
"There are only two
0r three great crimes in this world.
345
00:22:22,050 --> 00:22:24,594
"Once you commit them
there is nothing else to say.
346
00:22:25,053 --> 00:22:26,429
"Everything else is inferior.
347
00:22:26,847 --> 00:22:28,932
"You stop feeling anything.
348
00:22:30,267 --> 00:22:35,981
"Ah, so many times I crave
I could assault the sun
349
00:22:36,106 --> 00:22:38,108
"to expel it from the universe
350
00:22:38,567 --> 00:22:43,572
"and turn everything dark
or use that star to burn the universe.
351
00:22:44,364 --> 00:22:46,741
"Oh, that would be a great crime
352
00:22:46,867 --> 00:22:48,618
"and not just a small one
353
00:22:48,702 --> 00:22:52,122
"like those that in a year
354
00:22:52,539 --> 00:22:56,459
"only turn a dozen of creatures
into a lump of clay."
355
00:23:01,047 --> 00:23:06,094
I think he felt a big urgency
in his heart and soul.
356
00:23:07,512 --> 00:23:09,222
The urgency to point out...
357
00:23:09,306 --> 00:23:10,765
PRESIDENT OF THE AUDITORIUM OF ROME
358
00:23:10,849 --> 00:23:15,270
...a pain not only intellectual,
but physical and psychic as well.
359
00:23:15,437 --> 00:23:18,732
His pain towards the Italian society
360
00:23:18,815 --> 00:23:21,985
that he was watching, changing
361
00:23:22,360 --> 00:23:25,906
quickly and for the worse.
362
00:23:25,989 --> 00:23:30,452
Of course, especially
in the first black and white movies,
363
00:23:31,536 --> 00:23:32,746
POET
364
00:23:32,829 --> 00:23:35,206
there is a Romania frontality.
365
00:23:35,290 --> 00:23:41,212
Poetry, on the contrary, it has always
been said to have a decadent note.
366
00:23:41,296 --> 00:23:43,214
But, in my eyes, it's floral.
367
00:23:43,465 --> 00:23:44,799
There is something, liberty,
368
00:23:45,467 --> 00:23:50,013
and a bit Debussian... of course,
there's a bit of D'Annunzi0 too
369
00:23:50,680 --> 00:23:53,058
in this extenuation.
370
00:23:53,141 --> 00:23:56,895
He felt the burden
of a society without values
371
00:23:56,978 --> 00:23:58,521
that tends...
372
00:23:59,439 --> 00:24:03,026
to consider anything as a commodity,
373
00:24:03,193 --> 00:24:07,572
that has the ability to change
374
00:24:07,697 --> 00:24:10,283
the Italian physical landscape
375
00:24:10,909 --> 00:24:13,620
and the bodies,
376
00:24:14,371 --> 00:24:16,748
as well as people's souls.
377
00:24:16,915 --> 00:24:19,626
In '59...
378
00:24:20,043 --> 00:24:21,795
In '61 he made Accattone...
379
00:24:21,878 --> 00:24:23,380
PROFESSOR OF COMPARATIVE LITERATURE
380
00:24:23,463 --> 00:24:28,927
...and suddenly Pasolini's narrative
presents totally original perspectives.
381
00:24:29,052 --> 00:24:32,097
I wrote a poem called Defamations.
382
00:24:32,764 --> 00:24:35,892
Here I tell the popular story of a trial,
383
00:24:35,976 --> 00:24:41,439
one of the many trials
that grotesquely affected Pasolini.
384
00:24:41,564 --> 00:24:43,942
It is an impure narrative.
385
00:24:44,192 --> 00:24:47,529
It's a narrative
deeply contaminated by cinema.
386
00:24:47,654 --> 00:24:51,700
He uttered a cry of pain against all that
387
00:24:52,617 --> 00:24:55,912
and he simply said
388
00:24:55,996 --> 00:24:59,374
that this so-called welfare society
389
00:24:59,499 --> 00:25:03,461
was actually a society of a fake welfare
390
00:25:03,837 --> 00:25:08,758
that every day builds discomfort,
loneliness, oppression
391
00:25:09,384 --> 00:25:12,429
and also inability of effective,
sincere and real
392
00:25:12,971 --> 00:25:16,057
human relationships.
393
00:25:16,182 --> 00:25:20,562
The famous trial of a gas man
who was threatened
394
00:25:20,645 --> 00:25:24,524
and claimed
that there was a gold bullet in the gun.
395
00:25:24,607 --> 00:25:27,444
The poetry tells this crazy story.
396
00:25:27,569 --> 00:25:29,738
S0, image and movement,
397
00:25:29,988 --> 00:25:34,617
peculiarity of film language...
398
00:25:35,201 --> 00:25:38,329
What does Pasolini do
once he discovers cinema?
399
00:25:38,913 --> 00:25:45,420
He tried to find a linguistic equivalent
400
00:25:45,503 --> 00:25:46,755
from the literary point of view.
401
00:25:46,838 --> 00:25:48,423
A word in movement.
402
00:25:48,548 --> 00:25:51,134
Defamations to Pier Paolo Pasolini.
403
00:25:51,885 --> 00:25:54,304
He would have threatened a gas man
404
00:25:55,221 --> 00:25:59,517
with the gun loaded with a gold bullet.
405
00:26:00,769 --> 00:26:03,146
Filmmaker and poet.
406
00:26:03,730 --> 00:26:05,690
Goldsmith and ogre.
407
00:26:06,858 --> 00:26:09,360
But which allegation would you contest?
408
00:26:10,195 --> 00:26:12,697
The weapon or the bullet?
409
00:26:13,114 --> 00:26:15,992
Holy Roman Church or the songbird?
410
00:26:16,117 --> 00:26:21,289
In 1972
Pasolini starts working on Petrolio.
411
00:26:22,624 --> 00:26:25,585
He calls it a novel. Yes, it's a novel.
412
00:26:25,710 --> 00:26:27,170
He prophesied something
413
00:26:27,587 --> 00:26:32,133
when other people,
even politicians, were a bit more naive
414
00:26:32,300 --> 00:26:38,723
or distracted or even more shallow
and saw different things
415
00:26:39,099 --> 00:26:41,518
and a more optimistic landscape
416
00:26:41,601 --> 00:26:45,313
that Pasolini, instead,
dismantled piece by piece.
417
00:26:45,522 --> 00:26:49,526
That shot he never fired crosses his work
418
00:26:50,026 --> 00:26:52,862
and gives a double oxymoron to it.
419
00:26:53,613 --> 00:26:58,201
Amazing ghost of violence and mercy,
420
00:26:58,785 --> 00:27:01,121
blood and laurel.
421
00:27:01,246 --> 00:27:02,288
If you look at it,
422
00:27:02,372 --> 00:27:08,336
we are already
in the atmosphere of Salo'.
423
00:27:08,545 --> 00:27:11,089
I think that behind this image there is...
424
00:27:13,550 --> 00:27:16,010
the vampire's profile.
425
00:27:16,136 --> 00:27:21,307
It is very raw,
straightforward and detailed writing
426
00:27:22,142 --> 00:27:27,522
and, at the same time,
it has a powerful vision.
427
00:27:27,605 --> 00:27:30,942
The gold bullet is like the wooden stake.
428
00:27:31,067 --> 00:27:33,194
It is an alien body
that wanted to be a stranger.
429
00:27:33,278 --> 00:27:38,783
It's the outcast
that won't ever be assimilated.
430
00:27:39,033 --> 00:27:41,578
In fact, it will end up being expelled,
431
00:27:41,661 --> 00:27:46,291
but through a magic ritual.
432
00:27:46,791 --> 00:27:52,255
With the magic necessary
to nail, once and for all, the aliens,
433
00:27:52,714 --> 00:27:55,550
the vampires and Pasolini.
434
00:28:02,390 --> 00:28:05,935
His images have
the same fragrance of artisan objects,
435
00:28:06,019 --> 00:28:08,271
"whose shape", he himself wrote,
436
00:28:08,813 --> 00:28:11,566
"have the same fundamental traits
of precision and mystery."
437
00:28:12,734 --> 00:28:16,654
His movies are made of expressions
of disbelief and pure impassiveness,
438
00:28:17,238 --> 00:28:21,242
of animal survival, obtuse joy,
greed and unjustifiable goodness.
439
00:28:22,035 --> 00:28:26,164
The hands, among the few signs
he focused on,
440
00:28:26,664 --> 00:28:29,000
have a very special bond with sex
441
00:28:29,500 --> 00:28:30,960
and they are often contiguous to it.
442
00:28:31,419 --> 00:28:34,505
They go where the eye fails
and the word is powerless.
443
00:28:36,841 --> 00:28:38,968
But his shots are never short on words.
444
00:28:39,552 --> 00:28:40,637
Words as images,
445
00:28:40,762 --> 00:28:43,431
like constant writing,
signs and letters attest.
446
00:28:44,140 --> 00:28:48,436
The bodies are already on stage
when they are being filmed.
447
00:28:49,020 --> 00:28:51,314
They are that noise of shapes and signs
448
00:28:51,773 --> 00:28:53,983
that breaks into the silent expanse
of existence,
449
00:28:54,067 --> 00:28:56,277
like a sudden birth of something.
450
00:28:57,403 --> 00:29:00,198
However, you can't get into his world
451
00:29:00,281 --> 00:29:02,659
if you don't understand
that he feels the strongest emotion
452
00:29:02,742 --> 00:29:04,619
when he looks at himself
453
00:29:05,286 --> 00:29:08,498
with the same apprehension
his mother would look at him.
454
00:29:09,666 --> 00:29:11,000
Through Susanna's eyes
455
00:29:11,125 --> 00:29:14,170
he looks at himself
like a blinded animal in unknown meadows,
456
00:29:14,712 --> 00:29:18,466
he feels like he's in a laager,
full of companions in misfortune that hate him.
457
00:29:19,050 --> 00:29:22,387
S0 he is the bull that one day in April
458
00:29:22,845 --> 00:29:26,391
who walks softly towards death,
into the hands of a smiling child.
459
00:29:28,268 --> 00:29:29,269
Salo', his latest movie,
460
00:29:30,186 --> 00:29:33,690
talks about how the consumer civilisation
massacres the only thing
461
00:29:33,815 --> 00:29:35,316
that doesn't belong to the market,
462
00:29:35,400 --> 00:29:36,442
the body.
463
00:29:36,526 --> 00:29:38,111
It also talks about the fate of the victim
464
00:29:38,236 --> 00:29:41,114
that he always felt written
on his own body.
465
00:29:42,365 --> 00:29:43,658
It is one of the mysteries of Salo'.
466
00:29:44,993 --> 00:29:46,452
What is its deepest meaning?
467
00:29:47,203 --> 00:29:51,124
Only those who are really resigned
can resist the abusers' violence.
468
00:29:53,042 --> 00:29:54,377
As he himself wrote,
469
00:29:54,460 --> 00:29:58,965
"There is nothing that crosses power
as much as resignation does,
470
00:29:59,632 --> 00:30:01,801
"which is the rejection
of power in any form."
471
00:30:04,470 --> 00:30:08,474
Has any other movie ever represented
with the same insistence
472
00:30:09,100 --> 00:30:12,603
resigned faces and bodies
facing the unspeakable rituals
473
00:30:13,104 --> 00:30:16,357
the power uses to celebrate itself
in the only possible form?
474
00:30:16,774 --> 00:30:17,817
Anarchy.
475
00:30:18,776 --> 00:30:21,195
That's what makes this movie
unique and absurd.
476
00:30:21,904 --> 00:30:25,033
A crystal of powerful
and peaceful sadness.
477
00:30:25,616 --> 00:30:27,952
A masterpiece of evil sweetness.
478
00:30:43,009 --> 00:30:46,637
It was a bit dark
when I first walked into the farmhouse.
479
00:30:46,763 --> 00:30:51,476
Then the lights turned on and I started
to see and understand things around me.
480
00:30:51,559 --> 00:30:52,685
THESE SHOTS ARE NOT PRESENT
IN THE FINAL EDITION OF THE FILM
481
00:30:52,685 --> 00:30:54,771
THESE SHOTS ARE NOT PRESENT IN THE FINAL
EDITION OF THE FILM There was the DOP
482
00:30:54,854 --> 00:30:58,566
and Pasolini, who'd just arrived
and started to direct.
483
00:30:58,649 --> 00:30:59,650
He said "Hi" to me in a very friendly
way, but didn't come close to me.
484
00:30:59,650 --> 00:31:02,445
THEY HAVE BEEN LOST FOREVER He said "Hi" to me in
a very friendly way, but didn't come close to me.
485
00:31:02,528 --> 00:31:06,282
CEVALLOS' PICTURES ALLOW A HYPOTHETICAL RECONSTRUCTION
I started to observe him and everything he was doing.
486
00:31:06,366 --> 00:31:07,408
He was sharp.
487
00:31:07,492 --> 00:31:11,329
He was behind the camera
and that's where he directed from.
488
00:31:11,412 --> 00:31:14,082
He said something to the operator
and other people.
489
00:31:14,999 --> 00:31:19,420
Sometimes he left the camera
to direct the actors,
490
00:31:19,504 --> 00:31:24,133
but I couldn't go with him because
he didn't want to be disturbed.
491
00:31:24,717 --> 00:31:26,594
They were filming one
of the first violent scenes,
492
00:31:26,761 --> 00:31:29,389
I should have taken a picture of it.
493
00:31:30,890 --> 00:31:32,308
I couldn't do it though,
494
00:31:33,184 --> 00:31:36,604
because they were so real, so violent
495
00:31:36,687 --> 00:31:43,611
that it reminded me of Los Federales'
violence in South America.
496
00:31:43,694 --> 00:31:45,238
I am Latino,
497
00:31:45,738 --> 00:31:50,535
so I saw the struggle of the Left
in Latin America.
498
00:31:50,618 --> 00:31:52,662
L really felt those tortures.
499
00:31:52,995 --> 00:31:58,292
From that afternoon I had to change
the way I took pictures
500
00:31:58,376 --> 00:32:00,670
because I could no longer
get close to the subjects,
501
00:32:01,546 --> 00:32:04,507
the way I used to do
with any other movie.
502
00:32:04,841 --> 00:32:06,050
When they said, "Action",
503
00:32:06,592 --> 00:32:09,387
it wasn't a movie anymore,
it wasn't a fiction anymore
504
00:32:09,762 --> 00:32:11,055
and I was no longer in Cinecitta.
505
00:32:11,806 --> 00:32:13,599
It was a torture chamber.
506
00:32:14,267 --> 00:32:19,397
I always had goosebumps
and only took a few shots.
507
00:32:20,690 --> 00:32:22,692
I only used two or three lenses.
508
00:32:22,775 --> 00:32:28,698
I remember I used 105 and 50.
I didn't use the flash ring much.
509
00:32:29,532 --> 00:32:34,120
And back then
the tripod wasn't very common
510
00:32:34,203 --> 00:32:36,706
because you couldn't really stay still.
511
00:32:37,457 --> 00:32:43,754
S0 I worked freehand for 8-9 days.
512
00:32:43,838 --> 00:32:44,881
Let's say for two weeks.
513
00:32:44,964 --> 00:32:49,051
I didn't go everyday
because I couldn't work with all scenes.
514
00:32:49,552 --> 00:32:52,930
After I took those pictures
515
00:32:53,014 --> 00:32:58,769
and I got them developed
somewhere in Rome,
516
00:32:59,061 --> 00:33:03,691
I picked the ones I wanted to publish
and started telling Pasolini,
517
00:33:03,774 --> 00:33:09,697
"Here are the photos you should see
to authorise the publication in France"
518
00:33:09,780 --> 00:33:13,701
and he was like,
"Keep going. We have time."
519
00:33:13,951 --> 00:33:16,746
One day then, I was in my car
and someone told me,
520
00:33:16,829 --> 00:33:18,831
"D0 you know that Pasolini got killed?"
521
00:33:19,207 --> 00:33:21,918
And everyone started looking for
young photographers.
522
00:33:22,418 --> 00:33:25,004
Lots of newspapers called me saying,
523
00:33:25,254 --> 00:33:27,798
"We want to buy your photos,
they are Pasolini's latest images."
524
00:33:27,882 --> 00:33:35,181
I refused to sell them.
525
00:33:36,516 --> 00:33:41,604
I thought, one day I could pay tribute
to him or make a book or an exhibition.
526
00:33:42,230 --> 00:33:44,732
Occasionally,
I see those photos in my file.
527
00:33:45,149 --> 00:33:49,195
Last time I saw them,
it was exactly a year ago,
528
00:33:50,029 --> 00:33:54,909
when that awful scandal
of the US military in Iraq came out.
529
00:33:54,992 --> 00:33:57,370
Pasolini had already represented them.
530
00:33:57,537 --> 00:33:58,746
It wasn't fiction.
531
00:33:58,829 --> 00:34:01,958
Only once he asked me,
"Can you take a picture?"
532
00:34:02,041 --> 00:34:04,168
It's that picture
where he just sits and looks at me.
533
00:34:04,252 --> 00:34:05,294
It's the only one.
534
00:34:06,420 --> 00:34:08,548
When he was very upset?
535
00:34:08,631 --> 00:34:11,968
Anyone would bang his head
against a wall, swear?
536
00:34:12,051 --> 00:34:15,846
The worse he could say was,
"Damn, go to hell!"
537
00:34:16,097 --> 00:34:18,933
That was Pier Paolo's typical expression.
538
00:34:19,350 --> 00:34:20,393
"Damn, go to hell!"
539
00:34:20,476 --> 00:34:24,105
S0 when he said that twice,
you knew he was very upset.
540
00:34:24,564 --> 00:34:28,025
He was great.
541
00:34:28,109 --> 00:34:30,278
I can't even think of the words
to describe Pier Paolo.
542
00:34:30,361 --> 00:34:32,863
And I don't even like
when other people talk about him.
543
00:34:33,239 --> 00:34:36,993
They all want to be
Pier Paolo's godchildren, friends, etc...
544
00:34:37,076 --> 00:34:39,996
I have so many names in my head...
545
00:34:40,121 --> 00:34:41,163
And it wasn't just that.
546
00:34:41,247 --> 00:34:43,833
He was doing so many things
at the same time.
547
00:34:45,167 --> 00:34:48,504
He was making the movie, writing the book,
548
00:34:49,338 --> 00:34:53,301
Scritti Corsari, playing football...
549
00:34:53,426 --> 00:34:56,554
Some images he gave,
such as the one of the palace,
550
00:34:57,555 --> 00:35:00,850
were showed around
so many times afterwards...
551
00:35:00,975 --> 00:35:02,727
In the morning
he used to give me his articles
552
00:35:02,810 --> 00:35:04,729
and say, "G0
and dictate them to the Corr/ere. ”
553
00:35:05,396 --> 00:35:10,109
And then I realised, "I dictated
Scritti Corsari on the phone."
554
00:35:10,192 --> 00:35:14,739
Christian Democracy and neo-capitalism,
555
00:35:14,822 --> 00:35:18,034
the capitalism in the maturity
of those years,
556
00:35:18,451 --> 00:35:22,830
affected Italy deeply
557
00:35:23,289 --> 00:35:26,709
and changed it for the worse,
more than fascism itself did.
558
00:35:26,834 --> 00:35:30,129
I deeply respect Pasolini,
559
00:35:30,212 --> 00:35:34,383
not just as a colleague...
560
00:35:34,550 --> 00:35:35,593
FILM DIRECTOR
561
00:35:35,676 --> 00:35:39,805
...but as the foundation
I built my art on afterwards.
562
00:35:39,930 --> 00:35:44,060
I don't know why,
but I felt kind of responsible
563
00:35:44,143 --> 00:35:47,897
and I did everything I could
not to watch this movie
564
00:35:47,980 --> 00:35:50,650
or to keep the script at home.
In fact, I no longer have it.
565
00:35:50,775 --> 00:35:53,235
That's how the location was.
There were lots of litter?
566
00:35:53,319 --> 00:35:56,530
N0, nothing? The painter fixed it.
567
00:35:56,614 --> 00:36:01,994
S0 this was the kind of image
you had to represent.
568
00:36:02,161 --> 00:36:05,748
Painting has always been
the source of inspiration.
569
00:36:06,290 --> 00:36:09,251
Pasolini is indeed a great Italian
570
00:36:09,335 --> 00:36:10,878
and also a great European.
571
00:36:12,254 --> 00:36:16,717
People I give the tape to
usually fall asleep
572
00:36:16,801 --> 00:36:19,804
or tell me, "Ew!
How could you do such a thing?"
573
00:36:19,929 --> 00:36:23,474
What's extraordinary
and really makes me think,
574
00:36:23,557 --> 00:36:28,562
and only a few people understood,
575
00:36:28,646 --> 00:36:31,315
is that there was this element
of sweetness and love in the movie.
576
00:36:31,440 --> 00:36:35,277
L work in a public hospital in Bologna,
in a medical department.
577
00:36:36,487 --> 00:36:38,989
D0 they know you were an actress?
578
00:36:39,073 --> 00:36:40,157
N0.
579
00:36:42,535 --> 00:36:47,206
He is one of the few people
who kept up the European civilisation.
580
00:36:47,289 --> 00:36:48,666
I'm not just talking about cinema.
581
00:36:48,749 --> 00:36:50,876
I'm talking about the whole civilisation.
582
00:36:56,507 --> 00:37:02,596
I had the feeling
he was an extremely sharp, smart person
583
00:37:02,680 --> 00:37:09,645
and at the same time, he was private,
even shy, and very kind.
584
00:37:09,729 --> 00:37:11,480
I didn't like Salo'.
585
00:37:12,148 --> 00:37:14,316
I was lucky
586
00:37:15,192 --> 00:37:19,196
to have the opportunity to watch it
at the popular premiere in Paris.
587
00:37:19,321 --> 00:37:23,075
The most impressive spiritual vibe
588
00:37:23,492 --> 00:37:29,290
was his discomfort and refusal,
589
00:37:30,124 --> 00:37:33,627
even his fear of violence.
590
00:37:33,711 --> 00:37:36,547
I remember very well
the face of the actor next to me,
591
00:37:36,839 --> 00:37:37,965
more than the movie itself,
592
00:37:38,048 --> 00:37:41,051
because I was looking more left
than straight ahead.
593
00:37:41,677 --> 00:37:46,599
DIALOGUE FROM A COPY OF THE SCRIPT USED ON SET
"And here, my dear friends, an even stronger certainty is born...
594
00:37:46,682 --> 00:37:47,683
"...the greatest pleasures come
from the most vile source.
595
00:37:47,683 --> 00:37:51,479
THIS IS THE ORIGINAL ENDING COMPLETELY DIFFERENT TO THAT OF THE
FILM "...the greatest pleasures come from the most vile source.
596
00:37:52,146 --> 00:37:57,193
"From now on here's the doctrine
we'll have to follow,
597
00:37:57,568 --> 00:38:01,155
"the more you're looking for pleasure
in the profundity of crime,
598
00:38:01,781 --> 00:38:04,742
"the more your crime
will have to be terrible."
599
00:38:05,910 --> 00:38:09,205
NO ONE KNOWS IF THIS SCENE HAS EVER BEEN SHOT
"Very well. D0 you think it is possible...
600
00:38:09,288 --> 00:38:12,666
END OF THE MOVIE, AFTER THE EXTERMINATION OF THE VICTIMS
"...to commit such crimes very much like your minds crave?"
601
00:38:12,750 --> 00:38:18,547
EXECUTIONERS DRAWING THEIR OWN CONCLUSIONS ON THEIR EXPERIENCE "I
must admit that my imagination has always far exceeded my faculties.
602
00:38:19,089 --> 00:38:21,425
"L lack the means to do what I'd like to.
603
00:38:21,509 --> 00:38:25,679
"L have imagined hundred times more and
better than what I actually did in the end
604
00:38:26,013 --> 00:38:29,058
"and I've always complained
about the nature
605
00:38:29,141 --> 00:38:32,436
"that gives us the desire to outrage it,
606
00:38:32,770 --> 00:38:35,564
"but denies ourselves the means to do so."
607
00:38:37,399 --> 00:38:41,278
"There are only two
0r three great crimes in this world.
608
00:38:41,612 --> 00:38:45,366
"Once you commit them
there is nothing else to say.
609
00:38:45,950 --> 00:38:47,576
"Everything else is inferior.
610
00:38:48,077 --> 00:38:51,038
"You stop feeling anything.
611
00:38:51,539 --> 00:38:55,876
"Ah, so many times I crave
I could assault the sun
612
00:38:56,168 --> 00:38:59,213
"to expel it from the universe
and turn everything dark
613
00:38:59,839 --> 00:39:02,383
"or use that star to burn the universe..."
614
00:39:22,444 --> 00:39:26,365
PASOLINl'S NOTES
SALO
50487
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