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1
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There's only one clan in charge here.
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Secondigliano's mine and no one else's.
3
00:00:22,600 --> 00:00:25,719
What happened in the area
taught us just one thing:
4
00:00:25,800 --> 00:00:27,199
you can't touch the Savastanos.
5
00:00:30,399 --> 00:00:32,520
The only thing that can fuck us up...
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00:00:32,600 --> 00:00:33,719
is fear.
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00:00:36,079 --> 00:00:38,119
You don't win the war by being strong...
8
00:00:38,880 --> 00:00:40,399
but by being able to wait.
9
00:00:42,280 --> 00:00:44,359
Ciro Di Marzio didn't kill my father.
10
00:00:44,439 --> 00:00:46,759
It was the poison inside us all
that killed him.
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We know it's there,
but we can't spit it out.
12
00:00:56,840 --> 00:00:59,960
A STORY CALLED
GOMORRAH THE SERIES
13
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SECOND EPISODE
TOTAL MADNESS
14
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On paper, it looked like total madness.
15
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It was going to be
an extremely expensive product,
16
00:01:28,000 --> 00:01:31,480
very elaborate, but also very niche,
17
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because it was so horribly brutal.
18
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We never made it easy for the viewer.
19
00:01:38,040 --> 00:01:40,439
It was all in dialect,
20
00:01:40,519 --> 00:01:43,480
so there were no clues
21
00:01:43,560 --> 00:01:48,040
to suggest
that it would get such a large following.
22
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That's the great thing
and the very germ of the project.
23
00:01:51,840 --> 00:01:53,560
Action!
24
00:02:10,159 --> 00:02:13,599
Sky was with us right from the start,
25
00:02:13,680 --> 00:02:18,759
because Romanzo Criminaleis the source of new Italian crime drama
26
00:02:18,840 --> 00:02:21,400
and that was a project we did with Sky,
27
00:02:21,479 --> 00:02:23,960
so it was like...
28
00:02:24,919 --> 00:02:28,039
building on the basis of an experiment
29
00:02:28,120 --> 00:02:30,879
we had already been through
and both felt part of.
30
00:02:32,879 --> 00:02:37,599
We realized that
to make the first season work,
31
00:02:37,680 --> 00:02:43,560
it was very important
to maintain this format
32
00:02:43,639 --> 00:02:45,599
which was very distinct in character.
33
00:02:46,479 --> 00:02:50,879
So we spent five or six weeks in a room,
34
00:02:50,960 --> 00:02:54,439
deciding which storylines to leave out,
35
00:02:54,520 --> 00:02:57,120
and we made some very radical choices.
36
00:02:58,039 --> 00:03:00,199
There had been a successful novel,
37
00:03:00,280 --> 00:03:06,039
there had been a film,
which is undoubtedly a masterpiece.
38
00:03:06,120 --> 00:03:12,120
So it wasn't smart to try and re-do
what had been done before.
39
00:03:13,639 --> 00:03:16,159
We worked on new material,
40
00:03:16,240 --> 00:03:20,639
we played with it,
brought it to life and rejuvenated it,
41
00:03:20,719 --> 00:03:23,599
and focused on characters
42
00:03:23,680 --> 00:03:27,159
who didn't appear
in the novel, or in the film,
43
00:03:27,240 --> 00:03:29,879
so we created them afresh and shaped them.
44
00:03:29,960 --> 00:03:32,560
When I get back, people won't talk
about Salvatore Conte...
45
00:03:33,639 --> 00:03:35,599
but about Don Pietro Savastano.
46
00:03:36,400 --> 00:03:38,639
Because in this place,
I'm not his only son...
47
00:03:39,199 --> 00:03:40,240
we're all his sons.
48
00:03:43,120 --> 00:03:47,479
The big thing about Gomorrahthat shouldn't be forgotten
49
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is the courage they had
50
00:03:49,120 --> 00:03:55,159
in casting completely unknown
actors and actresses,
51
00:03:55,240 --> 00:03:57,639
in finding new and unexpected talent,
52
00:03:57,719 --> 00:04:00,319
being prepared
to face uncertainty and risk,
53
00:04:00,400 --> 00:04:05,000
and in making radical choices
and sticking by them to the end.
54
00:04:05,080 --> 00:04:08,280
Wanna see the way we deal with you,
Franco Lollipop?
55
00:04:12,120 --> 00:04:13,039
Let's go.
56
00:04:33,920 --> 00:04:37,720
First day shooting in Naples,
we shot here.
57
00:04:37,800 --> 00:04:41,680
We're in the outskirts,
but not in Scampia,
58
00:04:41,759 --> 00:04:45,000
because we didn't yet have
permission to shoot there,
59
00:04:45,079 --> 00:04:47,600
so that was still a far-off mirage.
60
00:04:47,680 --> 00:04:52,680
We chose this place
to shoot a very important scene,
61
00:04:52,759 --> 00:04:58,040
when they burn the car after the shooting.
62
00:04:58,120 --> 00:05:02,879
So it's here that Ciro and Genny
appear together for the first time.
63
00:05:04,079 --> 00:05:07,079
-What did I tell you to do?
-Stay in the car.
64
00:05:07,160 --> 00:05:09,360
-And what did you do instead?
-I got out.
65
00:05:09,439 --> 00:05:11,920
It was the first time
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00:05:12,000 --> 00:05:15,920
both actors brought their characters
to the screen.
67
00:05:16,759 --> 00:05:22,000
I asked Marco D'Amore
to set fire to the car,
68
00:05:22,079 --> 00:05:25,079
which would burn behind them.
69
00:05:25,920 --> 00:05:28,279
-I'm sorry, Ciro.
-Sorry my fucking ass!
70
00:05:28,360 --> 00:05:32,040
Don't get out of the car again!
71
00:05:32,120 --> 00:05:36,879
And of course, the scene
was doubly tense and exciting.
72
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So they did this first take
with a car burning behind them
73
00:05:42,879 --> 00:05:46,639
and they were really fantastic.
74
00:05:46,720 --> 00:05:49,800
If you weren't Pietro Savastano's son,
I'd cut off your head off!
75
00:05:49,879 --> 00:05:53,839
I was impressed also
because it was the first time
76
00:05:53,920 --> 00:05:58,680
I'd heard and felt
the language they were using.
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We used it in the auditions,
we used it in rehearsals,
78
00:06:02,519 --> 00:06:06,759
but when you see it on the screen,
it has a completely different effect.
79
00:06:06,839 --> 00:06:08,879
Sorry, Ciro. It won't happen again.
80
00:06:11,519 --> 00:06:14,600
I was scared back there,
it all got a bit too much.
81
00:06:14,680 --> 00:06:16,680
It wasn't just me it had this effect on,
82
00:06:16,759 --> 00:06:22,519
because Nils Hartmann,
who had seen that day's dailies,
83
00:06:22,600 --> 00:06:25,879
called me and said: "This scene is crazy.
84
00:06:25,959 --> 00:06:32,120
They're both great,
but I don't understand a word they say.
85
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Please, Stefano, make this work for me,
86
00:06:35,399 --> 00:06:39,079
because if Gomorrah tanks,they'll kick me out.
87
00:06:39,160 --> 00:06:40,759
I'll be sleeping at yours."
88
00:06:40,839 --> 00:06:42,480
You weren't afraid.
89
00:06:43,439 --> 00:06:46,040
All right? You got out of the car...
90
00:06:47,399 --> 00:06:48,800
to leave your mark.
91
00:06:48,879 --> 00:06:51,959
In the case of clear Neapolitan,
with the accent and inflection,
92
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you're in a territory that has been...
93
00:06:56,480 --> 00:06:59,079
used very successfully in comedy.
94
00:06:59,160 --> 00:07:02,480
But here, we wanted to tell a story...
95
00:07:02,560 --> 00:07:05,439
that was more real.
96
00:07:05,519 --> 00:07:06,680
-This it?
-Yeah.
97
00:07:08,560 --> 00:07:09,920
-Give me the money!
-Here.
98
00:07:10,000 --> 00:07:14,360
So we had to take the brave choice
and it paid off,
99
00:07:14,439 --> 00:07:18,480
and now these catchphrases
are all over the social media
100
00:07:18,560 --> 00:07:22,160
and are popular with people
who aren't even from Naples.
101
00:07:23,560 --> 00:07:25,439
And I promise you one thing...
102
00:07:28,120 --> 00:07:31,040
We'll take back everything that is ours.
103
00:07:31,120 --> 00:07:33,040
You couldn't have them speaking
104
00:07:33,120 --> 00:07:36,399
in the Italian
of other Italian crime shows, like:
105
00:07:36,480 --> 00:07:38,759
"I'll shoot you in the head".
They'd use dialect.
106
00:07:38,839 --> 00:07:42,680
It wouldn't mean the same thing,
it wouldn't have the same authenticity.
107
00:07:42,759 --> 00:07:46,399
You'd lose a lot
in an unrealistic translation.
108
00:07:46,480 --> 00:07:50,759
"We will take back
everything that belonged to us".
109
00:07:52,680 --> 00:07:55,360
It just doesn't fit,
it doesn't have the right flavor.
110
00:07:55,439 --> 00:07:57,360
Work with me and I'll change your life.
111
00:07:59,879 --> 00:08:00,959
I'm honored.
112
00:08:03,759 --> 00:08:05,079
But I already have a home.
113
00:08:07,000 --> 00:08:08,639
And there, I'm in charge.
114
00:08:10,279 --> 00:08:15,079
The series took a lot
of artistic and commercial risks,
115
00:08:15,160 --> 00:08:18,519
and production-wise
it was a big gamble because...
116
00:08:20,040 --> 00:08:24,439
when we started shooting Gomorrah,
117
00:08:24,519 --> 00:08:28,199
it wasn't the Naples of today
in film-making terms.
118
00:08:28,959 --> 00:08:33,039
No one shot in Naples.
It was presumed too complicated,
119
00:08:33,120 --> 00:08:35,480
especially if you'd be based
in Scampia for months.
120
00:08:35,559 --> 00:08:39,080
For me, that was the critical decision
121
00:08:39,159 --> 00:08:43,759
and for me it was
a very important question of integrity,
122
00:08:43,840 --> 00:08:47,279
because there was no way you could say:
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00:08:47,360 --> 00:08:49,480
"Ok, we'll do the exterior shot here
124
00:08:49,559 --> 00:08:53,120
and then go back to Rome
for the interior..." No way.
125
00:08:53,200 --> 00:08:55,919
You had to be there
and you had to be there till the end.
126
00:09:14,440 --> 00:09:18,159
There are so many crucial scenes
in the show
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00:09:18,240 --> 00:09:22,840
because the main character of Gomorrah...
128
00:09:24,559 --> 00:09:25,879
is Scampia.
129
00:09:28,039 --> 00:09:31,080
It's not a backdrop, it's the star.
130
00:09:34,799 --> 00:09:37,879
When you take away his gun,
don't put it down.
131
00:09:38,639 --> 00:09:42,720
Hang on. Here.
Now show me. Can you shoot?
132
00:09:42,799 --> 00:09:44,120
-Yes.
-Go on, shoot, shoot!
133
00:09:55,919 --> 00:09:58,200
Scampia was the perfect place
134
00:09:58,279 --> 00:10:02,399
as a setting
for the first season of Gomorrah.
135
00:10:02,480 --> 00:10:05,559
When I first came here on a recce trip,
136
00:10:05,639 --> 00:10:11,559
I decided the area itself
would be essential to the story,
137
00:10:11,639 --> 00:10:14,320
and, of course, it wasn't easy...
138
00:10:15,720 --> 00:10:17,720
to make that dream a reality,
139
00:10:17,799 --> 00:10:23,399
because we had to deal
with local people's opposition
140
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to our presence.
141
00:10:25,120 --> 00:10:30,960
At the start, the atmosphere was...
142
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hostile, sometimes overtly so.
143
00:10:35,879 --> 00:10:40,759
But we didn't give up,
because we believed in this dream,
144
00:10:40,840 --> 00:10:43,559
and how we wanted to tell the story,
145
00:10:43,639 --> 00:10:48,799
so we just had to try
to explain it to the neighborhood.
146
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There's also the problem
with shooting in real locations,
147
00:10:58,360 --> 00:11:02,879
where, unfortunately,
things change all the time,
148
00:11:02,960 --> 00:11:05,919
so production-wise
149
00:11:06,000 --> 00:11:10,360
you would need three alternative
shooting schedules ready everyday,
150
00:11:10,440 --> 00:11:14,960
because you get there and someone says:
"You can't shoot today."
151
00:11:15,039 --> 00:11:19,240
On this score, Cattleya and Sky were...
152
00:11:20,480 --> 00:11:23,919
truly enlightened producers,
153
00:11:24,000 --> 00:11:27,440
because they risked a lot
154
00:11:27,519 --> 00:11:32,159
and stood by the project
even during some pretty tough times.
155
00:11:32,960 --> 00:11:36,480
Go! We like real cinema, go! Ok, camera!
156
00:11:36,559 --> 00:11:39,879
Doing the first season
was a whirlwind adventure
157
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especially production-wise.
158
00:11:41,840 --> 00:11:45,039
It nearly went off the rails
several times.
159
00:11:45,120 --> 00:11:49,759
There were shut-downs,
controversies, criticism.
160
00:11:49,840 --> 00:11:53,679
You really thought
you might not make it to the end.
161
00:11:53,759 --> 00:11:56,480
Everyone's gone crazy.
You should have seen them.
162
00:11:56,559 --> 00:11:57,840
They all suspect each other.
163
00:11:57,919 --> 00:12:00,840
The alley kids only go around in groups.
164
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I'm not joking when I say
that in all these years
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Gomorrah has brought work to many...
166
00:12:09,080 --> 00:12:12,320
many jobless people.
167
00:12:13,360 --> 00:12:16,279
Our input and our presence
168
00:12:16,360 --> 00:12:21,200
has created openings
for many young people.
169
00:12:21,279 --> 00:12:24,720
And that really helped us
170
00:12:24,799 --> 00:12:31,000
to get access to places
that were otherwise off-limits.
171
00:12:32,120 --> 00:12:35,240
Another fucking community group
has started, did you know?
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00:12:35,320 --> 00:12:37,000
-No.
-They're fucking things up.
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Guards, reporters everywhere...
That's why we're 300 deals down.
174
00:12:49,159 --> 00:12:54,720
In order to gain their trust,
we showed them our project.
175
00:12:54,799 --> 00:12:58,159
Crazy as it sounds, I basically...
176
00:12:58,879 --> 00:13:01,840
Iet them read the scripts,
177
00:13:02,919 --> 00:13:09,000
because I wanted local people
to know what we were doing.
178
00:13:11,320 --> 00:13:16,279
Then we liaised
with local community groups,
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and they were crucial,
180
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because they helped us
181
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to integrate with the neighborhood
182
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and slowly overcome that natural distrust
183
00:13:32,759 --> 00:13:36,080
which had been
a huge obstacle at the start.
184
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So they began to let us shoot,
185
00:13:39,720 --> 00:13:43,120
but in very few places.
186
00:13:43,200 --> 00:13:50,120
What you see in the show
seems much, much more expansive
187
00:13:50,200 --> 00:13:51,799
than what we actually used.
188
00:13:51,879 --> 00:13:55,159
In fact, we just used this square,
189
00:13:55,240 --> 00:13:58,279
a crossroads up ahead,
and the Vele development.
190
00:13:58,360 --> 00:14:04,360
So most of the series
was shot at these three locations.
191
00:14:04,440 --> 00:14:08,000
WHEN YOU DON'T SEE HAPPINESS,
LOOK FOR IT INSIDE
192
00:14:22,720 --> 00:14:24,879
For everyone, but especially for Stefano,
193
00:14:24,960 --> 00:14:28,519
because it's part of his signature style,
194
00:14:29,679 --> 00:14:33,360
this story could not have been told
195
00:14:33,440 --> 00:14:36,399
without the hyper-realism.
196
00:14:36,480 --> 00:14:38,360
-Got the money?
-Yes.
197
00:14:39,519 --> 00:14:42,600
If you shine a light on a situation,
198
00:14:42,679 --> 00:14:46,799
you have to tell it
in the truest possible way.
199
00:14:47,600 --> 00:14:49,679
It's 200 euros short of 15,000.
200
00:14:49,759 --> 00:14:53,639
Stefano created a language,
a grammar text book.
201
00:14:53,720 --> 00:14:58,600
And he did it
with such a refined aesthetic,
202
00:14:58,679 --> 00:15:03,320
despite using the language of violence,
which became a template.
203
00:15:03,399 --> 00:15:07,480
So it was our job
to learn, study and observe
204
00:15:07,559 --> 00:15:09,399
and try not to betray his idea.
205
00:15:09,480 --> 00:15:10,600
...and cut!
206
00:15:11,360 --> 00:15:14,639
The story itself
and the world we were exploring,
207
00:15:14,720 --> 00:15:19,679
lent itself
to a highly documentary approach.
208
00:15:19,759 --> 00:15:21,519
But the real challenge was to...
209
00:15:22,759 --> 00:15:27,559
make sure that the world of this story,
210
00:15:27,639 --> 00:15:29,600
which was very truthful and realistic,
211
00:15:29,679 --> 00:15:32,679
was told
with spectacular production values
212
00:15:32,759 --> 00:15:36,720
to compete with even the biggest
international series.
213
00:15:53,720 --> 00:15:57,000
We came up against a series of problems,
214
00:15:57,080 --> 00:15:58,519
the first of which was,
215
00:15:58,600 --> 00:16:00,879
when we were shooting the first season,
216
00:16:00,960 --> 00:16:02,559
there was a clan war going on.
217
00:16:03,240 --> 00:16:06,600
So, to shoot the bar explosion scene,
218
00:16:06,679 --> 00:16:11,120
we went round looking
for a bar that would let us film.
219
00:16:11,200 --> 00:16:14,480
Obviously it would be a special effect
and not a real explosion.
220
00:16:14,559 --> 00:16:17,000
In fact, the place
where we eventually filmed
221
00:16:17,080 --> 00:16:20,519
was cleaned up
in the space of a few hours.
222
00:16:20,600 --> 00:16:23,240
But while we were looking for our bar,
223
00:16:23,320 --> 00:16:28,080
another bar was blown up for real
as an act of retaliation.
224
00:16:37,200 --> 00:16:39,919
For me, the action scenes
were a baptism of fire.
225
00:16:40,000 --> 00:16:42,679
Before Gomorrah, I'd never shot any.
226
00:16:42,759 --> 00:16:44,960
What I learned from making Gomorrah,
227
00:16:45,039 --> 00:16:49,279
is that even an action scene
has to be shot exactly like a dialog.
228
00:16:49,360 --> 00:16:53,159
It must be dramatically coherent;
it must tell the story
229
00:16:53,240 --> 00:16:56,039
and have a reason to be there;
it can't be gratuitous.
230
00:17:31,640 --> 00:17:38,640
This is where we shot
one of the most spectacular scenes,
231
00:17:38,720 --> 00:17:42,200
but one that was also
a delicate moment in the first season.
232
00:17:42,279 --> 00:17:44,960
This is where we killed Donna Imma.
233
00:17:47,240 --> 00:17:53,839
It was kind of a pinnacle
for us on the creative team,
234
00:17:53,920 --> 00:17:59,839
because we wanted to make
kind of a statement of intent.
235
00:17:59,920 --> 00:18:02,799
Early on, during development,
236
00:18:02,880 --> 00:18:09,480
we decided to use
all the material we had come up with,
237
00:18:09,559 --> 00:18:11,000
without leaving anything out.
238
00:18:11,079 --> 00:18:14,160
So, killing off a key character
at this point in the story,
239
00:18:14,240 --> 00:18:17,000
one of the main Gomorrah protagonists,
240
00:18:17,079 --> 00:18:23,880
would probably be postponed
in any other series.
241
00:18:23,960 --> 00:18:28,480
We decided to use it
as our calling card, so to speak.
242
00:18:28,559 --> 00:18:31,559
It was how we saw the story of Gomorrah,
243
00:18:31,640 --> 00:18:35,000
apart from being realistic, obviously,
244
00:18:35,079 --> 00:18:38,880
because in our vision
of the world of Gomorrah,
245
00:18:39,720 --> 00:18:43,559
the protagonists will die
sooner or later anyway.
246
00:18:43,640 --> 00:18:47,680
And this is maybe
the highest-value character
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we sacrifice in season one,
248
00:18:50,079 --> 00:18:56,119
because the Imma character
had obviously become a key figure
249
00:18:56,200 --> 00:18:58,799
in the Gomorrah universe,
250
00:18:58,880 --> 00:19:04,920
and losing her
would be a big shock for the viewer.
251
00:19:05,000 --> 00:19:07,680
In the end, my view
is that we had Imma killed
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to earn the audience's trust and respect.
253
00:19:12,720 --> 00:19:15,319
The public could probably see
254
00:19:15,400 --> 00:19:20,079
that we weren't interested
in dragging out the characters' stories,
255
00:19:20,160 --> 00:19:24,160
but that we would give them
a no holds barred show,
256
00:19:24,240 --> 00:19:25,799
very tightly written.
257
00:19:30,480 --> 00:19:34,839
I remember the looks
of these young girls from Scampia.
258
00:19:34,920 --> 00:19:38,279
There was a light drizzle,
barely imperceptible,
259
00:19:38,359 --> 00:19:39,680
but raining at any rate.
260
00:19:40,640 --> 00:19:44,359
So, each time I did this scene,
261
00:19:44,440 --> 00:19:48,079
I'd collapse, under the hail of bullets,
262
00:19:48,160 --> 00:19:53,680
and these little girls
would look at me in shock.
263
00:19:53,759 --> 00:19:56,480
At some point,
they came over to me and said:
264
00:19:56,559 --> 00:19:59,920
"That looks exhausting,
why do you keep doing it?"
265
00:20:00,000 --> 00:20:03,279
And I replied:
"Because it's my job and I love it."
266
00:20:04,720 --> 00:20:08,880
They thought for a second and said:
"It must be lovely to do a job you enjoy."
267
00:20:10,079 --> 00:20:12,039
To think that we remained
268
00:20:12,119 --> 00:20:16,400
like a little seed
in the minds of these girls,
269
00:20:16,480 --> 00:20:17,720
through our being there,
270
00:20:18,440 --> 00:20:20,079
is a beautiful memory.
271
00:20:21,039 --> 00:20:23,480
You divide people
into those who don't kill...
272
00:20:24,400 --> 00:20:25,759
and those who do kill.
273
00:20:27,519 --> 00:20:31,279
You think that because I'm a woman,
I'm in the first category.
274
00:20:34,440 --> 00:20:35,440
You're wrong.
275
00:20:35,519 --> 00:20:37,759
This series came about as we made it.
276
00:20:37,839 --> 00:20:41,799
The power
of certain character relationships
277
00:20:41,880 --> 00:20:48,079
somehow only emerged
when the scenes were acted,
278
00:20:48,160 --> 00:20:52,480
and you immediately realized
you had to adjust the writing,
279
00:20:52,559 --> 00:20:54,480
which was going in a different direction.
280
00:20:54,559 --> 00:20:55,480
Who's this?
281
00:20:56,319 --> 00:20:58,759
It's my niece, Don Pietro. Patrizia.
282
00:20:59,680 --> 00:21:01,119
Has she no tongue?
283
00:21:01,880 --> 00:21:02,880
She does, sure.
284
00:21:02,960 --> 00:21:06,000
The most amazing example
is Genny and Ciro's relationship.
285
00:21:06,079 --> 00:21:10,079
This almost father-son,
big brother-little brother relationship.
286
00:21:10,160 --> 00:21:14,079
Its depth and richness only emerged
when we saw the footage.
287
00:21:14,160 --> 00:21:16,759
I remember Stefano
called me once and said:
288
00:21:16,839 --> 00:21:19,160
"Look at this, these are two brothers."
289
00:21:19,240 --> 00:21:20,160
Gennaro...
290
00:21:21,119 --> 00:21:23,680
You and me together. No one can stop us.
291
00:21:24,839 --> 00:21:28,039
Genny Savastano was supposed
to die in the first season
292
00:21:28,119 --> 00:21:30,319
and Imma was supposed to live.
293
00:21:30,400 --> 00:21:35,240
But then, seeing
and reading all the material,
294
00:21:36,039 --> 00:21:41,279
it seemed to me that
Genny Savastano's story had further to go
295
00:21:42,279 --> 00:21:44,000
than this one season.
296
00:21:44,079 --> 00:21:48,319
I felt that with Genny
there were a thousand possibilities
297
00:21:48,400 --> 00:21:54,799
and I could see that Imma,
who was one of my favorite characters,
298
00:21:55,880 --> 00:22:00,160
would grow in stature with her death.
299
00:22:21,000 --> 00:22:24,839
This theater is where we shot
one of the most important
300
00:22:24,920 --> 00:22:27,359
and powerful scenes of the first season:
301
00:22:27,440 --> 00:22:30,680
the shootout between Ciro and Genny.
302
00:22:31,519 --> 00:22:33,079
And we chose it
303
00:22:33,160 --> 00:22:38,519
because it's a place
where Ciro would naturally feel at ease.
304
00:22:38,599 --> 00:22:42,799
He's sitting in one of those rows,
305
00:22:42,880 --> 00:22:47,519
with his wife,
watching his daughter's play.
306
00:22:47,599 --> 00:22:51,359
And of course, there are
other parents and children,
307
00:22:51,440 --> 00:22:54,079
and that was a key element,
308
00:22:54,160 --> 00:22:57,519
because one
of the unwritten rules of gangsters
309
00:22:57,599 --> 00:23:02,839
is that you don't commit
crimes or acts of violence
310
00:23:02,920 --> 00:23:04,599
where there are kids around.
311
00:23:04,680 --> 00:23:07,799
And that also helped us
312
00:23:07,880 --> 00:23:12,359
to show the differences
in the two characters' makeup,
313
00:23:12,440 --> 00:23:15,160
by having them face this moment of truth.
314
00:23:20,519 --> 00:23:23,559
So when they pull their guns
on each other,
315
00:23:23,640 --> 00:23:26,319
everyone runs for cover,
316
00:23:26,400 --> 00:23:30,519
and it's Genny who hesitates for a second,
317
00:23:30,599 --> 00:23:35,000
whereas Ciro doesn't miss a beat
and he shoots Genny,
318
00:23:35,079 --> 00:23:39,119
and even injures bystanders
and fleeing spectators...
319
00:23:41,279 --> 00:23:47,039
So on that day,
Genny was to fall down and die right here.
320
00:23:47,119 --> 00:23:48,880
Right here.
321
00:23:51,759 --> 00:23:55,680
But as we were shooting,
and the plan was exactly this,
322
00:23:55,759 --> 00:23:59,559
Genny was supposed to die,
323
00:23:59,640 --> 00:24:04,880
Gina Gardini, the creative producer,
expressed some serious doubts. She said:
324
00:24:04,960 --> 00:24:11,799
"I'm convinced that Genny's character
can't end like this."
325
00:24:11,880 --> 00:24:14,160
I didn't agree and replied:
326
00:24:14,240 --> 00:24:18,680
"We built our whole narrative arc
around this ending."
327
00:24:18,759 --> 00:24:20,759
We continued discussing it,
328
00:24:20,839 --> 00:24:23,880
but in the meantime
shooting carried as planned,
329
00:24:23,960 --> 00:24:27,720
and the upshot was
that Genny was objectively dead,
330
00:24:27,799 --> 00:24:29,759
because we'd used the make up effect.
331
00:24:29,839 --> 00:24:32,559
I mean, he was lying there on the ground.
332
00:24:32,640 --> 00:24:34,839
So we didn't really know what to do.
333
00:24:35,599 --> 00:24:38,559
Re-shoot it all? Stop filming?
334
00:24:38,640 --> 00:24:41,400
Think up an alternative ending?
335
00:24:41,480 --> 00:24:46,119
And while we were arguing about this,
I looked at Salvio lying there,
336
00:24:46,200 --> 00:24:49,599
and I said, "Wait. Move a finger."
337
00:24:55,839 --> 00:25:00,559
Gina's looking at me, thinking:
"This is director's bullshit,
338
00:25:00,640 --> 00:25:02,759
because it obviously means nothing."
339
00:25:02,839 --> 00:25:05,519
I said, "No, because it's going to look...
340
00:25:06,480 --> 00:25:09,799
like a dying twitch,
341
00:25:09,880 --> 00:25:13,200
or it could also mean
342
00:25:13,279 --> 00:25:18,319
that, despite his facial wound,
he's actually still alive."
343
00:25:18,400 --> 00:25:22,359
The truth is that a character like Genny
344
00:25:22,440 --> 00:25:26,039
obviously didn't deserve
to die there like that.
28166
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