Original subtitles

The other one is the Toscana.

I choose the Toscana video, Justine and Daniel,

what I showed you yesterday.

After I will explain good all the part

of how it's the organization of the file,

I wanted to explain you the building of

the film.

So what I've done till now, how I

build a film after we go to the

management of all the project.

So here, this film, do you want to

see it again?

Or we see it again, okay.

These are all films.

The only thing we never get enough of

is love.

And the only thing we never give enough

is love.

I don't know anyone who thinks so much

about how he can make a person happy

with little things.

And to show him that he loves him.

And I think that's why I chose the

gold.

Today in the ceremony it was already said,

you are both already original to each other.

Wonderful originals, but together, you are wonderful, already

said today, unbeatable.

Sweetheart.

When I met you, everything has changed.

From the first day on, it's

the most beautiful to me.

And it's getting more and more beautiful every

day.

I'm sorry,

I'm going to miss you for the rest

of my life.

With this

I declare you husband and wife, and it

would be a good moment to kiss the

bride.

Okay, so I divide them in steps.

To show you what is the first step,

what I do.

The first step, what I do, I'm looking

for, yeah, first of all, I choose all

the nice, beautiful clips, what I can use

in the film.

But the first things that I do for

building the film is choosing what kind of

speeches they could fit on the film that

could tell the story.

This is the longest part.

It takes time, because you've got to, or

you have something in the head, like I

had for the Ibiza wedding.

I hear it, I was there completely inside

of that moment, and I said, okay, this

is, I know already.

I look at, oh, where is this part?

I find it.

Sometimes you've got to look and hear it,

and hear a lot, hear all the speeches,

and all that was said, and you choose

parts.

Unity, which you radiate.

Unity, which you have won so far.

And unity, which you can carry for a

lifetime.

Yeah, this was a speech of him that

I find good, because he doesn't speak about

them, but he gives a visual emotion.

He says hand in hand, they meet together.

He doesn't speak about them, and this is

sometimes I'm looking for.

I'm looking for speeches that are not speaking

about the couple, but speaking about something that

is good for everybody, that everybody could, yeah,

exactly.

I would like to have it sometimes in

the film.

So I'm looking for, because he spoke for

one hour, I think, and he told all

the story of their life, how they met,

where they met, what was their first kiss,

or something like this.

But I don't look for something like that.

I find it sometimes really boring, and not

so interesting.

So as I said, I'm looking for something

that's speaking about love, relationship, really in general,

that you have a vision.

And for me it helps also to visualize

what I could tell in the story.

Like in this moment, he's speaking about hands.

I was looking for a shot where I

see them hand in hand, or I ask

every time I'd like to see hands in

the shot.

Okay, perfect, this is fit.

I was looking for a shot that could

tell this moment, speak about this moment.

About the promises, as you see, this is

the promise of him, and this is the

promise of she.

Why I'm so asshole to put this and

this.

I'll make it here.

Because you are looking for something that must

be cinematic, and some people are shy.

It's like this, it's totally understandable.

But as I said, I wanted to show

something that I really love to see.

I would give to them all the speeches.

They are sweet, but sometimes people don't feel

comfortable with speaking, with telling something, with reading.

Like yesterday, we had Marcel and Kelly doing

the speeches.

The speech of Kelly, it was beautiful.

The speech of Marcel, it was really, you

felt that he was reading and he wasn't

there.

Very probably, if I get to make a

film, I don't use his speech, because it

disturbs me.

As I said, I want to make something

that I like.

And for the video, you use...

I give them all.

They will have everything.

They will have both promises in the film.

As I said, I do the long video

to let me do what I want with

the short.

The video is not amazing, because we were

really unlucky.

Because in that moment, it became really the

sun.

And I didn't feel comfortable to change the

exposure and everything.

So it was much overexposed.

So this is his speech.

This is his speech.

I promise to stand by your side for

the rest of my life.

To fight for you.

To support you.

To take care of you and always be

there for you.

I promise to never forget how big our

love is.

And that you are the best thing that

could happen to you.

I promise to love you for the rest

of my life.

This was her speech.

As I said, I have nothing to say.

We are like this.

I don't know if I can make it

better.

She was a little bit shy.

You feel that she was reading.

And what she read, it was something really

classical.

Really clean.

Every time you hear it in a ceremony.

And so I thought that it's okay.

I don't want to put it inside on

the film.

Or, okay, let's put one really short part.

That you feel that she told something.

Are you shooting a monopod there?

Do you want the monopod or the tripod

for that?

I was with the monopod.

And you see that I'm with the 7200.

This is my other assistant.

At that moment it wasn't Ilya.

He didn't do great things at that moment.

He was slowly to go from one part

to the other.

But okay, it's okay.

But the speech of him...

He told something that he wrote.

It was something original.

It was something what he felt.

And the way how he's speaking is really

soft.

And you feel that he's saying something

that he's feeling.

He's not only reading.

He's also reading.

But he's there, inside, on the world.

He's in the world of what he's saying.

His speech is really organic.

I feel it.

I feel it.

I feel it, the speech here.

She had to speak...

It was like this.

He is something organic.

It's going.

Without music, without anything already, this kind of

speech, I love it for the film.

And I choose it.

I choose the part where I think it

fits.

And I use it.

I put it inside in the film.

And it's really an important part, what he's

saying.

Then, from here, I declare you man and

wife.

I hold it every time because it's good

to finish the film with this small sentence.

The mother here...

Wait, I move it one second.

The mother here, she was telling another thing.

Like I was looking here, she was speaking

about images.

That is...

The only thing that we

never get enough is love.

And the only thing that we never give

enough is love.

She told these things.

And it was another sentence that fits to

everybody.

And it's not speaking about them.

It's speaking about everybody.

And so, it's something organic.

It's something that fits for me, for the

movie.

Because everybody can have this kind of feeling.

And it's nice to tell the story.

After, these are the parts that we are

speaking about them.

That we are telling their story.

He is the best man.

I don't know anybody who thinks about how

he can make a person happy with little

things.

And to show him that he loves her.

And I think Kristina Darst hit the goal

with Daniel.

Why?

He is a fantastic person.

And Kristina, she hit the goal.

We married him.

And here, I felt the relationship between the

sister and the bride.

The sister, she is speaking about, it doesn't

matter your failure, your mistake, your defect.

I love you, you are fantastic.

And you will be always my fantastic sister.

And you feel also the emotion and the

relationship between them.

So, it must be in the film.

As it was said in the ceremony today,

you are both original, wonderful originals.

But together, you are wonderful.

Because you are lazy and sleepable.

Something that fits to everybody.

Something, an image.

It gives an image.

Two parts.

We have the promises.

Between what they said.

Something from them.

That you feel the relationship between them.

And then, from the speeches.

I've got one speech from the groom.

Speaking about the groom.

One speech about the bride.

And one speech about how they look together

from the outside.

So, inside, outside, I have everything.

Everything that I could need to tell a

story.

So, my next step is to choose a

music that I could build something with this.

So, let's go to the second step.

Here it is.

Here it is.

I found a track that I find beautiful.

Because there is a long, quiet part.

And a part where I could put a

little bit of the party.

And I see already here on the track.

Really quiet.

And then a part where there is something

different.

Already with watching the track.

You hear it first.

But already with watching the wave.

You understand what happened in the track.

In this part, I put the most important

part for me.

That is the speech of the groom.

And this is the building of the first

build of the film.

And if we hear it.

Curiosity.

Bring the curiosity in the beginning of the

film.

You've got to bring the attention to the

beginning.

The first 15 seconds of the film.

The first 30 seconds of the film.

They are really important.

If you are boring there.

The people, they don't watch over.

The couple, they will be happy.

The couple, they are every time happy with

the wedding film.

But I think that I want to be

in love with this film.

And I don't want to be boring at

the first 30 seconds.

Because the first 30 seconds, it makes me

fall in love with the film.

I want to fall in love with the

film.

So I want to have a picture that

gives me really curiosity.

To go on to tell their story.

And for me, this was a good beginning.

Here, I can put every kind of shot.

Everything that I want.

I can put a shot, a donut shot.

I can put them together, but you don't

see them.

I could put the location.

I could put only trees.

But here, I put curiosity.

I want to have curiosity.

The depth and secrets of my soul.

Hand in hand, we will reach our goal.

And we go on and on to put

the things.

I put them only here to fit.

And after, I want to hear this part,

how it fits.

For sure, I hear this boom.

Here, it must happen something.

I had to look for a shot that

in that moment must happen something.

You feel it.

You feel it that there must happen something.

You can't put a shot that was not.

You can't put a shot of, I don't

know, a tree.

You can't put it.

You can't put a shot of the shoes

or of the dress.

You've got to put something important there.

Really important.

You hear it.

You hear it, Katso.

And here, must happen something.

You've got to be inside there in the

film.

The music tells you something.

And this is the second step of the

creation of the film.

For sure, guys, it isn't something that you

do in five minutes.

You've got to hear it, feel it.

And now I show you all the steps.

But it's something that takes a little bit

of time.

You've got really to feel, hear it, hear

it, feel it, feel it, and hear it.

Let's go.

Second step, part two.

What I've done here.

I try to give a little bit more

the right time to the things.

So, I try to make the music a

little bit more interesting.

If I go here inside, you see that

the music.

There's a lot of things that happen in

the music.

I can go again inside and again inside.

It's much, much work what I've done here.

I try to cut the music to make

it.

Shane, he introduced me this fantastic audition.

Guys, I can't explain it because I don't

know how it works.

I've never tried.

But I know that he told me that

there's this program.

That it helps you to fit the music

with your project.

I don't know if I could make something

like this.

But in this moment, I'm working like this.

I try to find where I need to

have the good part of the music.

The part what I use to tell something.

And to try to loop the music.

Cut it, fill it inside and outside.

To make the music fit with my project.

Here, for example, I wanted the beginning a

little bit longer.

Because I wanted.

I thought about this part of the stairs.

When she's coming down from the stairs.

I needed a little bit more breath before

the mother begins to speak.

So, here I loop the beginning.

And I get this 5-6 seconds more

for me to tell what I need.

For cutting the music, I don't know if

you know.

It's really good to count.

To count 1, 2, 3, 4.

1, 2, 3.

For most of the music.

So, 1, 2, 3, 4.

And make markers and cut in the right

time the music.

Here I've done this part.

I loop this part.

You see the music from here to here.

I've done it two times.

And here.

Here.

Here, I add this.

This is the music I sent to Anthony.

I sent to Anthony.

I said, Anthony, I want to have a

little bit of core.

A little bit of power to the music

in that moment.

Can you add me a little bit of.

Okay, no problem.

And he sent me this.

Only vocal full.

And you hear.

I'll make you hear it.

This is what I add without.

It will be like this.

Like this.

I wanted to make here.

I'll give a little bit of timing.

Let's go to the third part.

First step.

First step.

It's almost the last part.

When I arrive to this part of the

film.

I can say to the bride, this evening

I show you the film.

Because all the rest is only to fill.

This is.

Here are all things that I'm thinking.

I'm thinking a lot.

I build.

I want to have the right time.

The right moment.

Here you see the beginning.

What you saw.

The only thing we never get enough of

is love.

The only thing we never get enough of

is love.

And here

comes problems.

Here comes problems.

This hole here.

It's a problem.

A big problem.

When I'm editing.

This kind of hole.

Sometimes there are real problems.

Because there are holes.

Where you can't put everything.

You have to put something that fits.

To your story.

For example.

I have here.

The part where she is dressing.

So I can't put here.

A part where she is dressing.

Or.

I have here.

But he is speaking about the groom.

And I like this relationship between him and

the group.

I have this shot.

I wanted to put here.

I can't put it here.

So I can't put the moment of getting

ready.

In that moment.

So this is our problem.

You have to find a way to fit

the story.

You can't make something.

In Italian you say.

You have to think a lot.

This is everything you see.

The shot that I find.

That they could be in the right place.

They are in the right place.

So after.

I got to find a way.

To put other things.

Without moving the rest.

This is a thing that must be there.

Here.

Boom.

Here.

There is a boom here.

And she put the hand here.

And it's not like this.

This shot.

It must be there.

This.

Okay.

She is speaking about them together.

A hand of the hand.

Together.

The shot.

The mother crying.

And here.

The boom that I told you before.

It must happen something important.

Really important.

And this is.

This boom.

It comes exactly.

When she comes inside in the picture.

And it's like this.

Boom.

And it will never move from there.

Everything will stay there forever.

And here.

Another part that I find.

It must be there.

First of all.

For me it was a little bit problematic.

Because there is a black.

Black part.

Like here.

A big pause.

But here I said.

What the fuck.

It fits without putting no pictures.

Because.

The only thing that I had for problem.

Is that.

The music.

It's telling me something.

So how I could.

How I could.

This is a problem.

How I could make.

That there happens something.

That give me.

The break.

What I've done.

What I've done there.

Tell me what I've done there.

Here.

If I let only the black.

The music is telling.

This is exactly how it was.

It is like this in the film.

But I've done something here.

That helped me.

To break that moment.

To break it.

Because here is not break.

Let's go.

Let's go.

How I break it there.

You don't remember.

Nobody remember how I break with.

The bell.

Bravo.

The bell.

This is.

I break it.

With putting a bell.

This was a fantastic idea.

I felt that I win the lottery.

When I found this idea.

Because I remember.

First.

This is.

It comes.

From that moment.

It comes the idea of the bell.

In the film.

Completely film.

Was it a real bell from that church?

Or from the area?

It wasn't.

I bought the sound of the bell.

I remember.

When she came inside.

It was four o'clock.

There was a bell.

Four times.

It was four o'clock in the afternoon.

I said.

What a fantastic genius came in me.

The name of the star.

After.

I feel.

I begin to put the bell everywhere.

I wanted to have four times.

The bell.

Four times.

At the end I put five.

Because.

I found that it fit.

In the end.

My first goal.

Genius.

Four o'clock.

I will put four times the bell.

During the film.

Here.

It fits perfectly.

We will see it now.

I think.

This is the final film.

Let's go to that part.

Here it is.

Every time.

The break.

The black moment.

But this time.

This moment.

This bell fits perfectly.

It fits perfectly.

If we see it.

This bell.

One.

Two.

Three.

Four.

It's five times.

I don't know.

Bell.

Bell.

Bell.

Bell.

And bell.

This is the first time.

The bell.

The bell is coming.

Yes.

It's ok.

It fits.

I find that it fits.

Yes.

You see it.

It comes a little bit slightly.

Yes.

This is.

It's the building.

From this film.

We make a small break.