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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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00:00:10,011 --> 00:00:12,013
What can I tell you?
4
00:00:12,180 --> 00:00:15,350
From his birth
until he was 10 or so,
5
00:00:15,517 --> 00:00:18,019
my son loved puppets.
6
00:00:18,186 --> 00:00:22,023
He loved putting on shows
for his friends.
7
00:00:22,148 --> 00:00:25,026
I'd buy him the puppet heads,
8
00:00:25,151 --> 00:00:30,949
and like a tailor
he'd stitch costumes for them.
9
00:00:31,074 --> 00:00:33,535
Then I bought him
a little puppet theater,
10
00:00:33,702 --> 00:00:36,996
which he put out
on our big terrace,
11
00:00:37,122 --> 00:00:40,250
and there he'd put on
puppet shows
12
00:00:40,375 --> 00:00:44,421
for his schoolmates
and playmates.
13
00:00:44,546 --> 00:00:48,049
He charged each one a penny.
14
00:00:49,426 --> 00:00:50,885
Camera!
15
00:00:59,185 --> 00:01:01,354
Look my hand.
Go Martino.
16
00:01:01,479 --> 00:01:03,398
Come on, Menicuccio.
17
00:02:28,650 --> 00:02:30,693
- How was that?
- Good.
18
00:02:31,653 --> 00:02:35,198
Good.
Let's do one with the —
19
00:02:37,617 --> 00:02:39,327
Camera!
20
00:05:20,822 --> 00:05:23,700
Close your lips,
as if they're chapped.
21
00:05:25,910 --> 00:05:29,163
Touch your lips.
Close your mouth, Pasqualino.
22
00:05:29,330 --> 00:05:32,000
Do that now and then.
23
00:05:32,875 --> 00:05:34,836
One... two... three.
24
00:05:35,003 --> 00:05:38,464
Breathe. Close your lips.
25
00:05:38,923 --> 00:05:41,050
Tighter.
26
00:05:41,342 --> 00:05:43,845
Raise your arm.
27
00:05:44,012 --> 00:05:46,514
Open your eyes.
28
00:05:46,639 --> 00:05:48,891
Look at me, Pasqualino!
29
00:05:53,396 --> 00:05:56,482
- Did you get it?
- One last take.
30
00:05:56,691 --> 00:05:58,526
Ready.
31
00:07:29,700 --> 00:07:33,162
I told you:
Don't just wave your arms.
32
00:07:33,287 --> 00:07:36,124
Turn in circles.
33
00:07:36,457 --> 00:07:39,001
Turn in circles
as you come down.
34
00:07:48,719 --> 00:07:50,304
Camera!
35
00:07:51,764 --> 00:07:54,767
As wild and crazy as possible!
36
00:07:54,892 --> 00:07:58,312
Like there's electricity
running through you!
37
00:07:58,479 --> 00:08:01,315
Wave your arms!
Kick your legs!
38
00:08:03,693 --> 00:08:05,987
Ready.
39
00:08:09,740 --> 00:08:11,242
Go, Enzo!
40
00:08:59,749 --> 00:09:02,043
Where's Ferretti?
41
00:09:10,218 --> 00:09:13,346
Come here, quick.
I want to show you this.
42
00:09:35,243 --> 00:09:37,245
Here too, Ferretti.
43
00:09:38,246 --> 00:09:41,832
This is a bunch of crap!
44
00:09:41,958 --> 00:09:45,044
There's no love for things!
45
00:09:46,754 --> 00:09:51,592
He didn't come to check.
He doesn't give a crap.
46
00:09:51,926 --> 00:09:54,178
That's what makes me
so angry —
47
00:09:54,303 --> 00:09:58,766
the lack of any sense
of responsibility
48
00:09:59,141 --> 00:10:01,936
or collaboration.
49
00:10:07,817 --> 00:10:09,902
He should be ashamed.
50
00:10:11,904 --> 00:10:14,365
He should be ashamed.
51
00:10:15,658 --> 00:10:17,952
And you can tell him so!
52
00:10:18,619 --> 00:10:21,622
"Federico said
you should be ashamed!"
53
00:10:31,757 --> 00:10:35,845
A complete lack of interest,
his couldn't-give-a-shit attitude.
54
00:10:35,970 --> 00:10:37,930
I don't get it.
55
00:10:38,055 --> 00:10:43,060
Even on the crappiest films,
I've never seen —
56
00:10:46,814 --> 00:10:49,108
Never!
57
00:10:53,696 --> 00:10:56,782
What's so funny?
I'm not mad at you.
58
00:10:56,907 --> 00:10:59,327
A guy's balls
59
00:10:59,493 --> 00:11:02,455
can only swell up so far
before they explode!
60
00:11:03,080 --> 00:11:05,708
What the fuck are you filming?
61
00:11:29,982 --> 00:11:33,861
It all ends up
causing huge delays.
62
00:11:34,528 --> 00:11:37,531
What happens is...
63
00:11:37,990 --> 00:11:41,202
when I go to shoot,
I have to say, "Hold it!
64
00:11:41,327 --> 00:11:43,996
Add that. Take that away.
Nail that down..."
65
00:14:55,020 --> 00:14:56,981
When they come forward,
66
00:14:57,106 --> 00:14:59,275
you step out of the way.
67
00:14:59,567 --> 00:15:01,277
Go on.
68
00:15:05,739 --> 00:15:07,533
Then you follow.
69
00:15:08,909 --> 00:15:11,245
That's far enough.
70
00:15:11,996 --> 00:15:16,458
It's a long shot, sweetheart.
- But I want to do it right!
71
00:15:16,584 --> 00:15:18,460
And I want you to.
72
00:15:18,586 --> 00:15:21,338
You don't give me
enough time to say...
73
00:15:21,463 --> 00:15:23,841
"Step forward."
74
00:15:23,966 --> 00:15:26,427
Show me how long it takes.
75
00:15:39,815 --> 00:15:43,027
Since I can't hear
a friggin' thing from there,
76
00:15:43,152 --> 00:15:45,404
when you say,
"Step... matrimony"...
77
00:15:45,529 --> 00:15:48,866
look at me
as if you're looking at Martino,
78
00:15:48,991 --> 00:15:51,285
then turn and say...
79
00:15:53,996 --> 00:15:56,373
So when do you look at me?
80
00:15:56,498 --> 00:15:58,959
Before I say, "Step forward."
81
00:15:59,251 --> 00:16:01,128
Then I call Alain.
82
00:16:01,295 --> 00:16:03,547
"The gods approve of this union."
83
00:16:03,672 --> 00:16:06,008
I look at you.
84
00:16:06,133 --> 00:16:09,136
No, you look at Martin.
85
00:16:09,303 --> 00:16:10,929
Then I call Alain.
86
00:16:11,055 --> 00:16:13,307
Then you say the rest
and come here.
87
00:16:13,474 --> 00:16:15,184
Again.
88
00:16:15,309 --> 00:16:17,311
Valdemaro, I told you:
89
00:16:17,478 --> 00:16:19,438
Wave your arms,
shout, jump around!
90
00:16:19,647 --> 00:16:21,023
Camera!
91
00:16:29,448 --> 00:16:31,241
Where's the vet?
92
00:16:31,367 --> 00:16:33,452
That cow keeps moving.
93
00:16:43,796 --> 00:16:45,839
I understand, but in a film...
94
00:16:49,510 --> 00:16:53,055
You're giving me
medical technicalities.
95
00:16:53,389 --> 00:16:57,518
If they've split its head
or slit its throat —
96
00:16:58,602 --> 00:17:00,688
In real life, sure,
97
00:17:00,813 --> 00:17:05,067
but in a film,
if it keeps moving, it looks like —
98
00:17:07,736 --> 00:17:09,738
It is still moving?
99
00:17:09,988 --> 00:17:12,366
It would have
postmortem contractions
100
00:17:12,491 --> 00:17:14,868
even if you cut its veins.
101
00:17:19,665 --> 00:17:23,961
The ancient Romans
didn't shoot cows in the head.
102
00:17:24,086 --> 00:17:27,047
So the animal would have
contractions and fall down.
103
00:17:27,172 --> 00:17:30,426
They'd slit its throat,
and the contractions would continue.
104
00:17:35,222 --> 00:17:37,391
Go on, Cynthia.
105
00:17:39,685 --> 00:17:42,479
Turn around, Cynthia!
106
00:17:43,439 --> 00:17:45,232
Up your ass!
107
00:17:45,357 --> 00:17:48,235
Go back to your place!
We rehearsed it 20 times!
108
00:17:48,360 --> 00:17:50,487
How can you be so stupid?
109
00:18:13,051 --> 00:18:16,597
We say that in Rome
affectionately.
110
00:18:16,764 --> 00:18:20,267
It's not affectionate.
It's really bad.
111
00:18:20,392 --> 00:18:23,145
Especially talking to a girl.
112
00:18:24,188 --> 00:18:26,774
A man shouldn't —
113
00:18:26,899 --> 00:18:29,985
I'm sorry. I was on edge.
114
00:18:30,110 --> 00:18:32,613
It was all going well,
then you messed up.
115
00:18:41,497 --> 00:18:43,290
It just slipped out.
116
00:18:55,511 --> 00:18:58,764
- Show me the picture.
- You won't tear it up?
117
00:18:58,889 --> 00:19:01,308
I look awful!
118
00:19:01,809 --> 00:19:03,977
We'll take another one.
119
00:19:04,520 --> 00:19:05,896
Let me see it.
120
00:19:06,021 --> 00:19:07,648
Don't tear it up.
121
00:19:07,773 --> 00:19:09,191
You promised.
122
00:19:10,484 --> 00:19:12,945
You're awful!
123
00:19:13,070 --> 00:19:16,198
It was a bad picture of me!
124
00:19:17,533 --> 00:19:20,577
You don't keep your promises.
125
00:19:20,702 --> 00:19:25,165
Why keep a picture where I look
like a 75-year-old in a toupee?
126
00:19:56,238 --> 00:19:58,240
I'm very shy.
127
00:19:58,448 --> 00:20:01,243
Timida? I'm timid too.
128
00:20:01,368 --> 00:20:02,953
I'm very timid.
129
00:20:03,078 --> 00:20:04,746
Me too.
130
00:20:31,148 --> 00:20:33,567
- How are you?
- Fine, thanks.
131
00:20:53,837 --> 00:20:55,923
Tell me now.
132
00:20:56,048 --> 00:20:59,760
You told me
very vaguely what to do,
133
00:20:59,885 --> 00:21:01,762
and I did it.
134
00:21:01,887 --> 00:21:03,639
I was just kidding.
135
00:21:04,765 --> 00:21:07,184
I changed my mind.
- Sure, later...
136
00:21:07,309 --> 00:21:10,020
but at first you said nothing.
I never know!
137
00:21:10,145 --> 00:21:13,148
Sweetheart, it was a long shot.
138
00:21:13,315 --> 00:21:16,485
Then you tell me,
"Look at them."
139
00:21:16,610 --> 00:21:18,654
A man can change his mind.
140
00:21:18,779 --> 00:21:20,614
I know, darling...
141
00:21:20,739 --> 00:21:23,075
but I'm very delicate.
142
00:21:23,200 --> 00:21:26,328
Don't I treat you delicately?
143
00:21:26,453 --> 00:21:28,455
Sure, real delicately!
144
00:21:28,580 --> 00:21:31,124
- You see this guy?
- Did I do it right?
145
00:21:31,291 --> 00:21:33,126
You were great!
146
00:21:33,251 --> 00:21:35,837
Otherwise we'd reshoot it.
147
00:21:36,296 --> 00:21:40,008
Because now I'm nerv—
148
00:21:40,384 --> 00:21:41,969
You're what?
149
00:21:46,640 --> 00:21:48,517
Poor thing.
150
00:28:46,726 --> 00:28:49,229
After three months
that you are in Satyricon...
151
00:28:49,354 --> 00:28:51,564
you still eat like...
152
00:28:52,065 --> 00:28:54,901
a very well-educated British!
153
00:28:57,237 --> 00:29:01,950
I'll say a few words
of this made-up Greek —
154
00:29:02,492 --> 00:29:06,329
Should I speak faster?
155
00:29:06,579 --> 00:29:09,582
Yes, and anticipate
their delivery,
156
00:29:09,707 --> 00:29:13,545
because you know
this Greek tragedy very well,
157
00:29:13,670 --> 00:29:16,089
so you anticipate their words.
158
00:29:16,214 --> 00:29:19,217
Since I made them all up myself!
159
00:29:35,108 --> 00:29:37,152
Here come the actors.
160
00:30:07,140 --> 00:30:09,809
Look up transfixed...
161
00:30:09,934 --> 00:30:13,646
with a smile of admiration
for poetry and art.
162
00:30:16,608 --> 00:30:18,943
Hold it there, Salvo.
163
00:30:19,777 --> 00:30:21,779
Clowns!
164
00:30:26,868 --> 00:30:29,996
Then you turn to the wall...
165
00:30:32,290 --> 00:30:36,294
"White, red, yellow, green..."
166
00:30:36,419 --> 00:30:40,173
And as you're speaking,
167
00:30:40,298 --> 00:30:44,552
"White, red, green..." —
you keep going.
168
00:30:44,677 --> 00:30:47,889
- Before they throw stuff?
- No, when stuff starts flying.
169
00:30:48,014 --> 00:30:50,892
Put it over your head,
but keep talking.
170
00:30:51,601 --> 00:30:54,020
You'll tell me when?
171
00:30:54,187 --> 00:30:57,732
Yes, I'll tell you when
it goes on and comes off.
172
00:30:57,857 --> 00:31:00,693
When you take it off,
173
00:31:00,818 --> 00:31:03,530
it's to insult them.
174
00:31:03,696 --> 00:31:06,366
"Pigs! Bastards!"
175
00:31:06,533 --> 00:31:08,618
Anything you want.
176
00:31:08,743 --> 00:31:10,745
"Shitheads!"
177
00:31:10,870 --> 00:31:14,832
Yes, that's better than
continuing to recite the verses.
178
00:31:14,958 --> 00:31:18,294
Then, after that,
say another verse or two.
179
00:31:18,419 --> 00:31:20,880
And when the stuff
really starts flying —
180
00:31:21,047 --> 00:31:23,049
Let's give it a try.
181
00:31:23,174 --> 00:31:26,010
It'll make it lively and boisterous.
182
00:31:33,560 --> 00:31:34,852
Wait!
183
00:31:34,978 --> 00:31:36,938
Remo, get out of there.
184
00:31:37,063 --> 00:31:38,856
Salvo, action!
185
00:31:39,524 --> 00:31:42,110
Where are you taking that?
186
00:31:42,694 --> 00:31:45,738
Stop!
What the fuck is he doing?
187
00:31:46,990 --> 00:31:48,658
Clear out!
188
00:31:48,866 --> 00:31:50,785
Light the smoke pot.
189
00:31:57,667 --> 00:31:59,460
Action!
190
00:32:23,318 --> 00:32:24,777
Faster.
191
00:32:55,975 --> 00:32:57,977
That's enough smoke.
192
00:33:09,489 --> 00:33:11,324
Take it off!
193
00:33:45,024 --> 00:33:47,235
I'm a poet, a great poet!
194
00:33:47,360 --> 00:33:50,029
You're all dickheads!
195
00:33:55,868 --> 00:33:59,330
Clowns!
196
00:34:08,423 --> 00:34:10,758
Cover up! Laugh, people!
197
00:34:10,883 --> 00:34:13,553
Queer! You old bum!
198
00:34:13,970 --> 00:34:16,013
You old faggot!
199
00:34:33,406 --> 00:34:36,033
Hold it there a moment.
200
00:34:48,337 --> 00:34:50,381
Okay.
201
00:34:53,092 --> 00:34:55,428
What the fuck are you doing?
202
00:34:55,595 --> 00:34:58,556
I said to shout
and jump around!
203
00:34:58,681 --> 00:35:01,267
You stand there like sheep!
204
00:35:03,644 --> 00:35:07,315
Don't move.
Just your head.
205
00:35:07,440 --> 00:35:09,734
- I understand.
- But you don't do it!
206
00:35:09,859 --> 00:35:12,612
Don't rock forward and back.
207
00:35:24,415 --> 00:35:26,042
Let's try it again.
208
00:35:27,001 --> 00:35:30,588
I told you two to jump.
Why don't you do it?
209
00:35:30,713 --> 00:35:33,299
Jump as high as you can!
210
00:35:51,400 --> 00:35:53,528
Once more.
211
00:36:00,117 --> 00:36:02,286
Wait for the music.
212
00:36:04,330 --> 00:36:06,165
Action!
213
00:36:13,881 --> 00:36:16,676
Hold it, Jessica.
214
00:36:17,176 --> 00:36:19,053
Lie down.
215
00:36:19,387 --> 00:36:22,640
Lie down.
216
00:36:24,433 --> 00:36:27,353
You come here and then here.
217
00:36:27,854 --> 00:36:29,647
Wait a second.
218
00:36:30,857 --> 00:36:32,900
Mark that with chalk.
219
00:36:39,866 --> 00:36:43,619
Hold on.
She's still over there!
220
00:36:43,870 --> 00:36:45,705
Together!
221
00:36:45,872 --> 00:36:48,624
Sorry, Jessica.
From the top.
222
00:36:52,545 --> 00:36:55,047
Go on.
223
00:36:57,466 --> 00:36:59,510
Quick, Jessica.
224
00:37:00,803 --> 00:37:03,014
Start moving in.
225
00:37:07,101 --> 00:37:09,228
What the hell
kind of dance is that?
226
00:37:09,353 --> 00:37:10,980
Then you sit down.
227
00:37:12,064 --> 00:37:13,983
Magali, go on.
228
00:37:23,409 --> 00:37:26,370
Down, Jessica.
Don't wet your pants.
229
00:37:26,495 --> 00:37:28,331
Stop there.
230
00:37:46,849 --> 00:37:48,976
Last one and then we're done.
231
00:37:54,523 --> 00:37:56,567
You want to rest?
232
00:37:56,776 --> 00:37:59,862
- What's wrong?
- This thing is —
233
00:38:00,321 --> 00:38:04,951
If you do it here,
you're hidden behind this thing.
234
00:38:05,534 --> 00:38:07,745
Do it over here.
235
00:38:07,870 --> 00:38:10,289
Another take.
236
00:38:12,667 --> 00:38:14,502
Lights.
237
00:38:17,880 --> 00:38:19,632
Dance!
238
00:38:35,106 --> 00:38:39,652
Now you look
like you're fighting with them.
239
00:38:42,446 --> 00:38:44,573
Start dancing here,
240
00:38:44,699 --> 00:38:47,910
or it looks like
you're trying to escape.
241
00:38:48,244 --> 00:38:51,789
Fine, but when you get here,
start dancing.
242
00:38:53,040 --> 00:38:55,167
Okay? Places.
243
00:38:59,338 --> 00:39:02,008
Dance, Fortunata!
244
00:40:19,835 --> 00:40:21,754
Was it all right?
245
00:42:25,502 --> 00:42:29,089
What the fuck are you filming?
246
00:42:29,506 --> 00:42:32,009
What's the point?
247
00:42:39,558 --> 00:42:43,729
I can't give one person
two per diems.
248
00:42:46,148 --> 00:42:48,943
I don't care what he says.
249
00:48:19,231 --> 00:48:22,901
Impotent!
250
00:48:49,720 --> 00:48:51,597
Less dust!
251
00:48:51,763 --> 00:48:55,767
Not in their faces!
That's where it's all going.
252
00:49:00,105 --> 00:49:03,734
Lisona's lovely breasts!
253
00:49:04,067 --> 00:49:07,029
You remember
when we would make love?
254
00:49:13,744 --> 00:49:17,706
I can't give one person
two per diems.
255
00:49:18,290 --> 00:49:21,126
Gideon, you want to film this?
256
00:49:21,251 --> 00:49:24,338
Do you mind, Mr. Valli?
Romolo!
257
00:49:24,546 --> 00:49:26,256
Feel that belly!
258
00:49:26,381 --> 00:49:30,594
It all goes to my waist.
You're so thin.
259
00:49:30,719 --> 00:49:33,096
They're filming for American TV.
260
00:49:33,221 --> 00:49:36,600
Let's face the camera.
This is my bad profile.
261
00:49:37,768 --> 00:49:39,936
You know we love you
262
00:49:40,062 --> 00:49:43,106
for everything you say and do.
263
00:49:43,273 --> 00:49:47,694
Even when interviewers
are hostile and out to get you,
264
00:49:47,819 --> 00:49:49,821
something nice
still comes out of it.
265
00:49:49,988 --> 00:49:52,741
They're all very pleasant.
266
00:49:53,075 --> 00:49:55,035
I'll tell you why later.
267
00:49:55,661 --> 00:49:59,331
What's all this?
Still that big film of yours?
268
00:49:59,498 --> 00:50:01,500
You know Gideon Bachmann?
269
00:50:04,503 --> 00:50:07,506
Look at the one filming the other!
270
00:50:08,006 --> 00:50:10,008
Is this for Satyricon?
271
00:50:11,802 --> 00:50:13,804
Gideon,
how should I introduce you?
272
00:50:13,929 --> 00:50:17,015
From the Breaking Balls
Corporation.
273
00:50:18,016 --> 00:50:20,435
You should
move over there now
274
00:50:20,560 --> 00:50:23,271
or you'll be in the way.
275
00:50:23,397 --> 00:50:26,400
Enrico Wertmüller
sends regards.
276
00:50:26,525 --> 00:50:28,318
Ah, how is he?
277
00:50:28,443 --> 00:50:30,529
Great pictures, Tazio.
278
00:50:30,654 --> 00:50:33,407
You get better and better,
you son of a gun.
279
00:50:33,532 --> 00:50:36,368
I brought this Spanish magazine.
280
00:50:37,285 --> 00:50:38,787
What's it called?
281
00:50:38,912 --> 00:50:40,539
Triunfo.
282
00:50:40,706 --> 00:50:43,709
May I tell you something
with all my heart?
283
00:50:43,834 --> 00:50:45,877
Up your ass!
284
00:51:27,294 --> 00:51:28,754
Ready?
285
00:51:54,446 --> 00:51:57,199
Elisa, push him away.
286
00:51:59,451 --> 00:52:02,037
Push him away.
Action up there.
287
00:52:47,999 --> 00:52:50,627
Do as I say
or I'll let you have it.
288
00:52:50,752 --> 00:52:54,256
Move your body
as if you're coming.
289
00:52:54,381 --> 00:52:57,843
Bear with me.
Open your legs.
290
00:52:57,968 --> 00:53:00,470
Be nice.
291
00:53:00,595 --> 00:53:03,098
Let me try again.
292
00:53:03,348 --> 00:53:06,393
Now you say,
"What's between your legs?
293
00:53:06,518 --> 00:53:08,854
A pickled eel?"
294
00:53:11,398 --> 00:53:13,608
Effects!
295
00:53:13,859 --> 00:53:16,987
What the fuck
are you waiting for?
296
00:53:17,195 --> 00:53:20,198
Gideon, stop busting my balls!
297
00:53:21,074 --> 00:53:23,660
Ready... effects.
298
00:53:23,785 --> 00:53:26,746
Action back there!
Shout!
299
00:53:28,081 --> 00:53:30,375
Rosina, move your head!
300
00:53:30,542 --> 00:53:33,712
Felix, out of the way.
301
00:53:33,837 --> 00:53:35,297
Elisa, get up!
302
00:53:39,259 --> 00:53:40,886
Kick him!
303
00:53:42,304 --> 00:53:44,139
Rosina, go on.
304
00:53:44,848 --> 00:53:47,684
Roberto and Alfredo!
305
00:53:49,936 --> 00:53:51,688
Augusto!
306
00:53:53,732 --> 00:53:55,734
Roberto, go away!
307
00:54:06,536 --> 00:54:08,121
An artist...
308
00:54:08,246 --> 00:54:11,750
as long as he's fully absorbed
in his creativity,
309
00:54:11,917 --> 00:54:14,920
in that dimension
310
00:54:15,211 --> 00:54:18,548
for which he was born —
311
00:54:19,049 --> 00:54:21,801
Nothing bad can happen to him
312
00:54:21,927 --> 00:54:24,971
as long as he's immersed
in that atmosphere
313
00:54:25,096 --> 00:54:29,059
where he can breathe,
that makes him grow.
314
00:54:35,857 --> 00:54:38,360
What's this madman saying?
315
00:54:38,944 --> 00:54:40,946
Sorry, I didn't understand.
316
00:54:41,071 --> 00:54:43,365
Your work protects you.
317
00:54:43,490 --> 00:54:47,202
It doesn't help you
participate in the world.
318
00:54:47,327 --> 00:54:49,454
In a way it does,
319
00:54:49,579 --> 00:54:52,958
because the only authentic way
I can participate
320
00:54:53,083 --> 00:54:56,795
in what you call the world
is my work.
321
00:54:56,962 --> 00:54:59,547
It forces me
322
00:55:00,256 --> 00:55:04,094
to relate to people,
323
00:55:04,219 --> 00:55:06,429
to go do research.
324
00:55:06,554 --> 00:55:10,100
My work
is my only authentic way
325
00:55:10,225 --> 00:55:12,310
of relating to everyone,
326
00:55:12,477 --> 00:55:15,313
of relating to myself
and expressing myself,
327
00:55:15,480 --> 00:55:18,441
of finding sustenance
by engaging with others,
328
00:55:18,566 --> 00:55:20,986
and constantly relating —
329
00:55:21,111 --> 00:55:24,197
story by story
and film by film —
330
00:55:24,656 --> 00:55:30,829
to the objective world
outside myself.
331
00:55:33,081 --> 00:55:36,584
So no, I don't think so.
332
00:55:36,876 --> 00:55:40,046
I think it's actually very healthy.
333
00:55:40,171 --> 00:55:42,674
And I have
some very simple proof:
334
00:55:43,091 --> 00:55:47,554
Within the confines
of what I do...
335
00:55:50,724 --> 00:55:54,352
when I feel fulfilled in my work,
I feel better,
336
00:55:54,477 --> 00:55:56,563
including physically.
337
00:56:02,694 --> 00:56:07,365
Why? Do you think
exposing yourself
338
00:56:07,532 --> 00:56:10,869
to all the perils,
magnetic charges,
339
00:56:11,036 --> 00:56:15,457
tensions, contradictions,
and pitfalls of a fanciful world
340
00:56:15,582 --> 00:56:18,209
is much less dangerous
341
00:56:18,334 --> 00:56:21,337
than exposing yourself
to contacts with the world?
342
00:56:27,886 --> 00:56:31,765
- He's always around, eh?
- Always right there.
343
00:56:31,890 --> 00:56:33,516
Just inches away.
344
00:56:37,771 --> 00:56:39,981
For me, Fellini is a friend.
345
00:56:41,900 --> 00:56:46,237
He needs protection, help, love.
346
00:56:46,362 --> 00:56:48,448
He doesn't know exactly
how to live.
347
00:56:48,573 --> 00:56:50,909
I think he's scared of God.
348
00:56:51,034 --> 00:56:55,246
The supernatural frightens him
and fascinates him.
349
00:56:55,580 --> 00:56:57,582
He's a Catholic, a believer.
350
00:56:57,749 --> 00:57:00,877
He's afraid to be alone at night.
351
00:57:03,588 --> 00:57:08,051
But the mystery of these things
that are greater than us
352
00:57:08,176 --> 00:57:10,553
really unnerves him.
353
00:57:10,678 --> 00:57:13,848
He's a vulnerable child.
354
00:57:13,973 --> 00:57:16,101
It's all part of his imagination,
355
00:57:16,267 --> 00:57:18,853
his wild imagination.
356
00:57:24,109 --> 00:57:27,487
He has this thirst
to know people,
357
00:57:27,612 --> 00:57:30,365
because it nourishes him.
358
00:57:30,490 --> 00:57:32,826
He's always in those trailers,
359
00:57:32,951 --> 00:57:37,247
with all those women, dancers,
queers, whores — everything!
360
00:57:37,372 --> 00:57:39,916
It's fantastic!
361
00:57:40,708 --> 00:57:45,505
Sometimes he's cruel,
but it's the cruelty of a child,
362
00:57:45,630 --> 00:57:48,007
because then
he's immediately sorry.
363
00:57:48,133 --> 00:57:51,136
I'm very interested
in this question:
364
00:57:51,261 --> 00:57:54,013
Since Satyricon talks
365
00:57:54,889 --> 00:57:58,852
about the history of mankind
before Christ,
366
00:57:59,018 --> 00:58:03,731
I'm wondering
what your aim is for the film.
367
00:58:03,857 --> 00:58:06,651
In the press office you'll find
368
00:58:06,776 --> 00:58:10,613
all the interviews
and statements I've given.
369
00:58:10,738 --> 00:58:13,283
But I have
more personal questions
370
00:58:13,408 --> 00:58:15,785
for my thesis.
371
00:58:15,952 --> 00:58:18,955
Let's talk Monday, my friend.
372
00:58:29,007 --> 00:58:31,259
He's always like that:
373
00:58:31,384 --> 00:58:33,386
the man who seduces
374
00:58:33,511 --> 00:58:36,514
and allows himself
to be seduced in turn —
375
00:58:36,639 --> 00:58:38,558
but not too much.
376
00:58:39,809 --> 00:58:41,519
You con artist!
377
00:58:41,686 --> 00:58:45,523
Why can't you love?
24001
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