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Red is my favorite color,
due to the dreams.

That's because my nightmares
are tinted red.

Red is also the color
of passion and joy.

It's always present on the journey
into the depths of the unconscious.

Red is also the color
of anger and violence.

Who are you anyway?
What's somebody like who makes horror films?

I'm Dario Argento.
There's nothing else...

- ... to say.
- "I was six years old.

After dinner I kissed my parents good night
and went to bed.

The way between dining and bedroom
seemed endless to me.

It was a long, dark corridor
with many doors on the sides.

At the very end of it,
there was my room.

Every ajar door I passed...

... posed a threat
and a somber danger to me.

I had a feeling of fear.

My nightmares are presumably
a result of this."

With this recount, Dario Argento
opens the doors to his dreams...

... and takes us on a trip
into the world of his films.

Buckle up since it's not only
a journey into fear...

... but one into sheer horror.

A trip into the universe of
the one and only, inimitable Dario Argento.

This is one of the most precarious phases
in the making of Suspiria:

The phase of audio mixing.

Suzy, the protagonist of the film,
played by Jessica Harper...

... is in the center of this witches tale
that is musically accompanied...

... by a diabolical, unceasing Carillon
by the band Goblin.

As soon as the music fades,
you hear the voices of the goblins again.

Okay?
Ready for the projection?

Are you ready? Let's go!

Go!

Don't leave me alone!
Don't fall asleep!

This is the key to find out
where the teachers go at night.

Last night
I eavesdropped on them.

I wrote everything down.

- Suzy, what do you know about... witches
- Witches.

Dario is one of the few visionary directors
in the world of cinema.

And since, in my opinion, visions are
the most interesting aspect of film making...

... I always wanted
to work with him.

One day he called me,
and together we thought about...

... how to give this film a look
that hasn't been seen for a long time.

We decided to shoot
a Technicolor picture.

In Suspiria we wanted to employ
the latest Technicolor process:

The matrices in the primary colors
are created from a single negative...

... by copying each one onto
Blue-, green- and red-sensitive matrice film...

... according to
the desired color intensity.

Theoretically you could even leave out
one of the colors.

This was to me the only option
to shoot a different-looking movie.

The interior of the car
was completely rebuilt in the studio.

We added thunder, rain, and so on —
the whole palette of special effects.

We used very powerful spotlights
as well as the usual orange and blue gels.

In this case also yellow ones
representing the streetlights.

There's this close-up
with a completely changing dimension.

For a short moment you might think
the screen was three-dimensional.

I demand two things.

First off, all effects must be accomplished
during the principal photography.

We had to abandon the idea...

... to do trick photography or special effects
in post-production.

Dario agreed that all of the effects
had to be done during the actual shoot.

And the sequence
that was first on the agenda...

... was the scene
on the square in Munich.

Lighting this square wasn't the only
technical challenge, however.

The lighting was one aspect...

... but the shot with the camera
wasn't without problems either.

Easy.

Who's there?

Who is this?

Easy!

Someone's here.

What's happening?

Who is this?

Dario wanted to convey the feeling that
something is crashing down onto the actor.

It was supposed to feel
very threatening.

We attached the camera to a steel cable
that was fixed to the ground.

The camera then dropped down in free fall
from a height of 30 to 40 meters.

The mechanism
resembled the one of a steel cable way.

Down on the ground there was
an electro-magnetic trigger system.

At the touch of a button,
the camera on the construction slid down.

Under tension,
the whole thing went up again...

... so that the camera
wouldn't shatter on the ground...

... and the shot
could be accomplished.

In the end, it was
a very nice night shot from above...

... that gave you the feeling
that the actor was about to be crushed.

Who's there?

Do you know why I make films?
Just imagine...

... I make movies
because I want to be loved.

This also explains that kind of dialogue
I'm having with the audiences.

Not only with the Italian one
but with all of them.

- You want to be loved by whom?
- It doesn't matter.

Just loved.

There are many reasons
why someone is doing something.

Why you, as an artist,
express yourself in a certain way.

There are many incentives.

For one, it might be power,
for the other it's money or something else.

I've often asked myself
why I'm doing this.

Just ask my colleagues,
not just in the world of cinema...

... but also other artists
or people in general...

... why they're doing a certain thing.
I myself know exactly why.

I do what I do
because I want to be loved.

Elena.

Give me the power!

Death!

Pain! Pain!

Death!

I said, death!

Our brothers' experience
warns us...

... to not trouble
profane minds with our knowledge.

I, Varelli, an architect in London,
have met the Three Mothers...

... and for them I created
and built three homes.

One in Rome, one in New York,
and the other one in Freiburg, Germany.

I discovered too late
that from these three places...

... they rule the world with pain,
tears and darkness.

Cinema...

That's my profession
which I've practiced since a very young age.

In my mind,
film is the ultimate dream.

It's something that
can carry an audience or anybody else.

How interesting the creator of a film really is,
lies, in my opinion...

... in the fact how interesting his dreams,
nightmare or illusions are.

Signore?

Excuse me...

Please excuse me.

I can't find the exit.

The other door.

- The book!
- What?

"I was at a show
by Emerson, Lake & Palmer"...

... Argento remembers.

"I was especially fond of
a solo by Keith Emerson.

The keyboarder ended the solo...

... by sticking solid knives
between the keys of his organ.

Thereby he created
unusual and unique sounds.

Emerson wrote the music
for my film in real time...

... while he projected the images
in slow motion."

Argento went to the extreme,
right into hell...

Mothers... stepmothers
that do not give birth to life.

Three sisters... mistresses of
the horrors of humanity.

Tenebre could be a sequel
to Suspiria and Inferno...

... at least
when it comes to its title.

In reality, however,
the film is very much contradicting its title...

... since it's a rather sun-drenched,
bright and light-infused movie.

In this case, the title refers to
the darkness of the soul...

... to the dark sides
you carry inside of you, that is.

Those that develop deep inside of us
and turn out to be the monster...

... that's in all of us...

... and sometimes shows
its cruel and bloodthirsty side.

In any case, the film is sort of
a thoroughly whimsical and colorful feast.

Thanks to Argento
I had the opportunity...

... to use a French dolly
called "Louma Crane".

It's basically a dolly
with a column and a long arm.

What's special about it
is that the camera is fixed to that arm...

... and is extremely mobile
due to several gyroscopes.

This wouldn't be doable
with a normal arm.

The camera can be lifted upwards
up to seven meters in a very flexible way.

We did a tracking shot with it that
allowed us to shoot from the roof of a house.

Also this time it was all about turning
typical narrative structures on their head.

We didn't want to do an ordinary
tracking shot in the usual environment.

So the camera leaves the house
through a window...

... we pan up to the roof and from there
back into the house on the other side.

This is how
we changed perspective.

Quiet!

You perverted wench.
A dirty, perverted wench.

That's what you are.

I'm here inside the warehouse
of "Arco 2".

We're getting the gear
for our movies.

For example, the innumerable
electric and other cables.

Or our thousands of
spotlights and projectors.

As well as our dollies:

Big ones and little ones,
medium-sized or electric dollies.

Here you can see the projectors
and lots of cables.

We're also getting three Panaflex cameras
with soft focus lenses.

You can't tell whether
they're American or Japanese.

It's a secret.

I'm here because tomorrow the filming
of my new movie should begin.

Or rather, it'll definitely begin tomorrow,
in Zurich.

That's why the trucks
are being loaded up.

We got 450 special effects
with us...

... that will be used
for Phenomena.

I feel like...

I don't know, I'd like to be cheerful,
but I feel a little sad.

I'm troubled by doubts.

I keep asking myself
if I can get this film together.

Stop!

Stop!

You forgot me!

But there's one thing
we can't take along.

It's a huge crane
you can't find anywhere in Italy.

We've ordered it in Munich
and it's being delivered to Zurich.

I need this crane
for the first scene of the film.

I wanted...

... to have the possibility...

... to do a shot across a huge forest
with the aid of this crane...

... and to film a small,
isolated little house on the other side.

Is anyone home?

Please! I'm not from here.

I got lost.

Everything to do with insects was accomplished
thanks to the thorough work...

... of a group of entomologists
supervised by Maurizio Garrone.

He's been working for Argento
as an animal expert for ten years.

The bumblebee
was sedated with ether...

... in order to perform a tricky
micro surgical operation on it...

... during which the stinger is amputated
without injuring vital organs.

After the surgery,
the insect's leg...

... was tied to
a very thin nylon thread...

... which allowed us
to "remote control” the animal.

We're in Zurich.

"Phenomena, scene 9/5/1.
Interior Mercedes.

The bumblebee
flies onto Jennifer's arm."

That's the scene we're doing.

The Mercedes' roof
has been sawed off...

... and reminded of
an opened sardine can.

A box placed and fixed
on the reaming roof...

... severed as Garrone's hiding place
to move the insect...

... so we could get
the desired shots.

- Rolling!
- 9/9, the third.

Action!

Anyway,
with us you're in good hands.

I'm sure you'll feel comfortable
in our school.

It's one of the best
in all of Europe.

First of all,
we all speak your language.

Furthermore, our teaching program
is based on the American one.

A wasp!
Watch out!

- No! No, what are you doing? Stop it!
- Go away!

Leave it alone!
Insects would never hurt me...

... because I love them.

- You love insects?
- Yes.

I love all insects.

How I got the idea for the film,
the idea with the insects?

Well, the idea came to me a year ago
while I was vacationing on an island.

I was listening to music on the radio
when the news came on.

They said that
the police in the USA...

... managed to catch a murderer
with the help of insects.

There are flies, for example,
that are attracted by corpses.

A few hours after the killing of a person,
the first flies settle down on the body.

It's curious that insects
basically act as investigators, right?

So I started to search
for the source of this news.

Then I dived deeper
into this topic...

... and found out that insects
are de facto outstanding detectives.

They can really be helpful
in solving certain crimes.

If, for instance, a bullet is fired
by a gun inside a room...

... the wings of some
particular butterflies break off.

Their wings are very fragile.

From this can be concluded
whether a shot was fired of not.

But there are
many more aspects to this...

... that inspired me to do
Phenomena.

13-years-old Jennifer Connelly,
the protagonist of Phenomena...

... has the unusual gift in the movie
to be able to communicate with insects.

Dario wanted real insects...

... and didn't want to resort to
optical effects or the like...

... to generate
a vast number of flies.

They were supposed to attack the boarding
school right when Jennifer called them.

The scene should feel real.

Those actually were real flies,
six millions of them.

The windows were equipped with
a hermetically sealed double glazing.

Below them were big boxes
with two holes in them...

... through which the flies were pushed inside
with a little effort.

I love you.
I love you all.

Dawn of the Dead is a film that was produced
by Dario Argento in 1978.

It was directed by
George A. Romero.

It's a firework of music
and special effects.

"There's no more room
in hell."

Something my granddaddy
used to tell us.

You know Macumba?

Voodoo...?

Granddad was a priest
in Trinidad.

He used to tell us:

"When there's no more
room in hell...

... the dead will walk the earth."

Get its head up!

Get its head up!

Get its head up!

Wait a minute, you beauties.
We'll be with you soon.

Have a little patience.

Come on,
everybody grab a weapon!

Steven!

When those bay doors open,
there's gonna be a thousand zombies in here.

That'll take the heat off us.

These guys
will take care of them for us.

Tom Savini, the special effects artist
for Dawn of the Dead.

- Never seen a comb before?
- Actor and stuntman.

Savini used to be
a war photographer in Vietnam.

"I was walking down a path", he tells us,
"when I suddenly stepped on an arm.

A Vietcong was killed
by one of my buddies.

When he went down, a bomb he had with him
exploded and blew him into a thousand pieces.

Many things you think up for a movie,
I've seen with my own eyes."

That whole thing
looks like a battlefield.

Destruction.

War.

Today's world of cinema resembles
more and more a war or a battle.

You leave your family,
fiancée or lover behind...

... and go on an adventure
for six months or a year...

... which sometimes bears no proportion
to the story you want to tell.

You travel to strange countries.

I don't know why this is the case
with movies nowadays.

Sure, it's nicer in comparison
to the times...

... when actors told their political tales
in amusing scenes.

The films you shoot today
are more fun.

It's basically like leaving for
military service.

What we have here is a helicopter
that crashed into a movie theater.

That was for a film I produced
and wrote the screenplay for...

... and was directed by
Lamberto Bava.

I'm talking about Demons.

Back then,
in the 60s and 70s...

... when you had a scene where a helicopter
was supposed to crash into a movie theater...

... small models were used
or optical effects were generated, and so on.

You would have helped yourself
with the tools of the cinema of old.

Whereas today,
you use a real helicopter for that...

... and hurl it into a theater.

It seems like
only a little difference.

But the difference to the old cinema
can only be measured in light years.

Even if today your fantasy
isn't limited in any way whatsoever...

... the depictions itself
have to be real and relentless.

Margery!

Margery!

Save me!

- Yes, these screams are real!
- What are you saying? It's the Dolby system.

I'm telling you, there's someone
screaming behind the screen!

Shit!

In order to do the special effect
of the emerging teeth...

... we need an imprint
of the actor's face and teeth...

... which provides you with the real shape
of his teeth and face.

On these casts made of latex or resin,
the desired deformities are model led...

... which perfectly match
the actor's facial features.

Look!

It can't be!
Look at her back!

Sergio Stivaletti is responsible for the
make-up effects in Phenomena and Demons.

Stivaletti always starts
with a sketch...

... based on scientific facts
and documentations.

The study of movements
and anatomy...

... is the basis
for these special creations.

The screenplay of Phenomena
demanded for a truly atrocious creature.

It was supposed to be very small,
but couldn't be a child.

Since the make-up consisted of
a heavy facial prosthetic...

... a child of a certain age
couldn't withstand the weight of it.

So with Davide Marotta
a little person was chosen...

... who had to succumb himself
to long and strenuous make-up sessions.

This is a mechanical double
that was made for the underwater scene.

Was heated up...

... and covered with a swimming blanket
made of vermiculit.

It's a natural material
similar to sawdust...

... and with appropriate coloration
and treatment...

... it creates the impression
of a moving worm-like mass.

This rotten-looking mass of jelly
was finished...

... with a mixture of yogurt,
chocolate and mint.

The scenery was completed
with human remains...

... ribcage as well as
cut off arms and legs.

The mobility of the fingers of one hand
was provided by a metal skeleton...

... whose tendons were replicated
with sheaths and cables.

Open up!
Open the door!

There's a killer!

Help me!

Murders play an important role
in my movies...

... and they're done beautifully.

Nobody should be offended because
I used the word "beautiful" in this context.

After all, everybody knows
that murders in movies aren't real.

No one really dies
and the blood is produced chemically.

So I'm allowed to say
that they're beautifully done.

I literally celebrate the murders,
just as if every one of them was a party.

From a technical perspective,
I put a lot of effort into them.

The same goes for the framing
and the movements of the actors.

In moments like these
I let my creativity run free.

Who are you?

Who are you?
Answer me!

Answer me!

Cut!

If you see a gloved hand
in my movies...

... or a shadow,
that's usually me.

Some people
might even recognize me.

I don't do this
for exhibitionism, though...

... but because I'm quite an expert
in these things by now.

It makes me chuckle,
but I'm indeed an expert in this field.

After all, I've been doing
these films for many years.

So I know
what needs to be done.

To be honest, I would be
quite a good killer myself.

As for instance...

... a bloody relationship
between a victim and its tormentor...

... there's still a sensual
or erotic aspect present.

Provided you don't carry
the whole thing to extremes.

But there is something
that connects the two acts —

... the erotic and the bloody act,
that is.

The knife is a phallic symbol
as we all know.

Hence there's an interplay
between the two orgasms:

Between the orgasm of death
and the sexual orgasm.

No!

No! No!

No! No!

In my first film,
The Bird with the Crystal Plumage...

... the protagonist is played by
Tony Musante.

Apart from the fact
that he wasn't sympatico to me...

... there was also a great distance
between the two of us.

To me he seemed like
a fish in an aquarium.

A person you don't care about
and don't know what to do with.

Someone
you feel indifferent about.

In fact, at the beginning I imagined him
between the two glass doors...

... as imprisoned
inside an aquarium.

It's quite frightening.

If someone would show up here,
I'd probably run away...

... and leave you behind.

But I won't let go of you.

- What a tomblike silence.
- Yes, that's literally it.

But there's something here.

What?

- Did you hear something?
- Yes.

Don't move.

Maybe it was a cat.

My first three films were:

The Bird with the Crystal Plumage,
The Cat o' Nine Tails...

... and Four Flies on Grey Velvet.

The animal in each title has,
if you will...

... an almost
psychological background.

It stands for the animal
or the beast inside of us.

The instinct that triumphs
over human rationality...

... which is possibly even more foolish
than the animal instinct.

And go!

Point-of-view shots or subjective shots
are very important in my films.

The camera glances, so to speak,
through the eyes of a person.

You accompany her movements in the scene
and you see how she approaches objects.

Sometimes I use a new camera for this,
called the steadicam...

... which is designed to film
such point-of-view shots.

This allows you
to project yourself...

... into what's going on,
because the transparent lens...

... essentially becomes
the eye of the audience.

You as the spectator get sucked into the scene,
you can move around in it...

... and approach objects and people.

You will also become
the one who Kills or gets killed.

The camera
is a master of movement:

It wreathes, it prances,
it abandons everyone...

... to intrude into hidden places,
dreams or dark meanders.

These are the environments of the killer,
There, where's no air...

... and no place for anybody
except for the viewer.

This is where the extraordinary symbiosis
between killer and audience is formed.

I asked,
what kind of movement?

That's hard to describe.

It's like someone got up
and walked out.

But as I said,
it was more of an impression.

With the lights it's not...

The dream which is connected to
the mystery of darkness...

... is the only big channel via which man
communicates with the realm of shadows.

The dream, is the mirror
of that mysterious chamber...

... the sleeping spirit projects.

No!

I sure didn't have to look far.

What are you doing?
You're crazy.

I waited for you, Nina.

You also killed Dalia.

The last thing Dalia saw
was your swinging medallion.

You did it!
You did it! You did it!

Take your hands off me!

Why?

Why?

Because you're so much like him.

Like who?

First shot got your arm, huh?

It hurts.

I know what it's like to suffer.

Freeze!

I came as fast as I could.

She's crazy.
She's completely crazy.

Now I understand
the meaning of my dream.

I've realized that
it's not me who's sentenced to death.

It's not me.
Nina!

The Killer in a mystery film
or a giallo...

... is a very hated character.

But that's especially true
for the movies of the distant past.

In the last years
or even decades, however...

... the audience sympathizes a lot
with the killer.

When a movie is about to end,
I always observe...

... that the viewers
are all rooting for the killer.

Not because they want him
to kill more people...

... but because they wish
he won't be unmasked or punished.

It almost gives you the impression
that his motives were plausible.

You'll never see her again.

I didn't kill her!

You dared to Kill,
an innocent girl?

She was only eight years old!

A cookie?

Also I, who makes movies,
as part of the audience, root for the killer.

At the end, I never manage
to detach myself.

I always put them
into the foreground...

... dedicate spectacular finales to them
because I basically love them.

In Argento's films, killers pay for their deeds
by suffering a gruesome death.

In Phenomena, this fate befalls him
in a particularly gruesome fashion.

There was a pestilent stench
because Garrone and his team...

... had about 500 kilos of meat
rot for a month.

A special room was furnished with
hermetically sealed thin metal pipes.

The larvae multiplied
inside of them incessantly...

... and tens of thousands of flies
hatched out of them.

The monster that was completely covered
with glucose syrup...

... had to wait patiently
and without moving...

... for the flies, drawn by the sugar,
to settle down on him...

... until they covered him completely.
Then shooting could begin.

Davide Marotta, the little person,
thrashed about as if to defend himself...

... so the flies
flew away from him.

The cameras
shot this sequence in reverse.

This is how the effect in the film
came into its own.

Damn you.

You damned bastard
had my son killed!

He had nothing to do with it.
He...

No!

He just tried to protect me.

He never harmed anyone!

You have no idea
what happened.

Don't worry.
Nothing will happen to you.

Keep calm, I will accompany you
to the clinic.

No! I told you
I don't want to go back there.

I told you.

You can't force me again.

It's just for your own good, darling.
You heard what the doctors said.

No.

No!

No.

Now, after so much
has been said about me...

... you might know a little more
about my work.

That goes for my work
and my films in general.

And you probably know me
a little better as well.

You surely know more about me
than I do myself.

In fact,
I know myself quite well.

I'd also like someone
who tells me something about me.

I'd like to meet myself some day
and get to know me.

That's how I would get to know
a little more about myself.