Original subtitles

[indistinct voices]

What shape do you make?

Me a flower.

I love this vase.

[indistinct voices]

I make another one, because this one is more sticky.

What?

[knocks on glass].

- Good evening. - Good evening.

Hello.

What did you write there?

I did this one.

Ah, though! He is a dachshund.

Go and take off your apron. Come on, love, let's go.

- Did you do everything? - Yes, of course.

Good, right?

- Goodbye. - Goodbye.

Done, love?

[engine roar]

I'll tell you what. But if I were to ask you.

what is your favorite character from Pinocchio?

Lucignolo.

Oh, yeah?

Lucignolo?

You are right, Lucignolo Is a beautiful character.

- But is he bad? - No, not in my opinion.

In my opinion he just wants to be free.

Then there is no such thing as a bad child.

One is not born bad.

Remember what Eater said.

"Beware, child, don't trust those who look good

And remember that there is something good in those who look bad."

Mm?

Let's go, come on.

- What's going on, love? - Nothing.

You have to be careful, though, because this is a beautiful book.

However, like all old books, it is very fragile.

- Why were you opening and closing it? - I was afraid.

- About what? - About the shark.

Let me see this drawing, come.

Come. Let's see it together, come.

Come here.

Let's see, because I don't remember anymore.

If it's really scary. Where is it?

Wait, that I don't remember.

In my opinion, though. it takes a special music.

- Try to look at it yourself. - No, let's watch it together.

It takes the agreement of misfortune. Do you know what it is?

No.

[hums eerie music]

He was eating my finger.

Aah!

Ugly!

[verso]

Let's try to see it all, come on.

Scare us!

[verso]

Wait, come here.

Hey, love, come here.

I'll tell you what -- look at this.

We talked about the whale and they will bring a real one

here in the city, in People's Square.

- Isn't she unbelievable? - But is she alive?

How is it alive? There is no sea. She is dead, poor thing.

But they kept it intact.

And now this whale is making the rounds of all Italian cities.

In a few days he arrives in Rome.

It would be interesting to go and see it together, mm?

- Where do they put it? - They put it here, see?

A big tent like at the circus. What do you say? Do you want to go with me?

- I'm in. - I'm in, it's a deal.

Let's go see the whale.

Come on.

Mr. Little Donkey is not coming, he loses his hair.

Let's leave Mr. Donkey here, come on.

[music on radio]

[hums]

What's going on, mm?

- I don't want to. - Come on, come on, come on. Let's go!

I don't want to!

You will see that it is a beautiful thing, tell all the comrades tomorrow.

- I'm afraid. - What's the matter?

I don't want to go in.

How come last night you wanted to come to see the whale and now you don't want to?

You put on this beautiful dress to see her and now?

Yesterday I was not afraid, and today I am afraid.

In the meantime, do I make the tickets?

Come on.

- Good morning. - Good morning. Can I have two tickets?

1,000 lira.

- You're welcome. - Thank you.

- Shall we go? - No!

Now you have to explain to me why you changed your mind.

I really want to see this whale,

If you don't want to see it, patience for you, huh?

- Do you want to stay here or come with me? - I want to stay here.

Come. Will you do me a favor? Can you spend five minutes with the child?

- Certainly. - Is that okay?

[lively music on the radio].

[plays "Tonight I'm Jumping" by Rocky Roberts]

Love, are you asleep?

No.

I wanted to say good night.

I came back a little later.

How are you doing?

What did you do in school today?

What's going on?

Nothing.

Are you sure?

Yes.

Will you tell me what happened? Why are you like this?

Nothing, nothing.

Nothing happened.

I'm going to stay here until you tell me what happened.

My desk mate is very, very shy,

he doesn't speak well And everyone makes fun of him.

- What does the teacher say? - She also teases him.

- Does the teacher tease him too? - Yes.

Tomorrow I will accompany you And we will go to school together,

so I understand better what happened, all right?

I don't want you to come to my school, I was wrong to tell you.

You didn't do wrong, you did the right thing.

It is not right that the teacher treats a child like this,

Is a very serious thing.

Now we sleep.

Let's turn off the light because it's very late, okay?

But if I get caught... If...

Then don't you think that they will all make fun of me

And they'll say I'm a snitch?

No, no one can say that you were a snitch.

[indistinct voices]

Come on.

- Good morning. - Good morning.

- Good morning, ma'am. - Good morning.

Go with Carla, go.

Come on now.

What's the matter? Are you tired?

[in French]

[together, in French]. Good morning, teacher.

[Louis] She has to explain to the children, she has to listen to them.

If someone teases another child, he has to explain it to them.

[in French]

[in French] Come on.

[reporter] All senators, very firmly and decisively.

Explosions in Rome, too, in Piazza Venezia, at a bank.

The toll is less tragic, there are 16 injured.

The outbreak in Milan occurred

in the National Bank of Agriculture in Fountain Square.

The boilers had been thought of, but they were found intact.

It is a bomb with high explosive potential,

it is an assassination attempt.

Let's connect with Milan, with Elio Sparano.

[Sparano] In Piazza Fontana continues the work of firemen, carabinieri,

public security guards and traffic police,

where at 4:30 p.m. a bomb sowed death and destruction.

In the hospitals where the injured were admitted,

the work of the health workers continues unabated

And all the people who needed it, were operated on.

Some interventions were required...

You have done a gigantic job.

I already know who the main character is.

- He makes a thousand movements... - Of course with this look...

- It's hypnotic, huh? - It seems to be staring at you.

- Slowly because it is fragile. - Do you know that it also walks?

- Can we show two steps? - Yes, let's make it move.

Slowly, eh.

Oh! There it is!

How can he walk if he doesn't touch the ground?

- There is makeup. - Look at the way it walks.

Wait, wait, go there, go.

It already looks very good to me.

[squeaking]

What am I doing with you, huh? Are you going to tell me?

Perhaps.

Perhaps history needs to be reversed.

Pinocchio must be a real child from the beginning,

must live continuously in a real dimension.

[Louis] And I this with a puppet....

Throughout the duration of the film...

I can't do that.

[indistinct voices]

Quick!

[indistinct voices]

Beware of the horse! Let's wait!

What are we doing here? I gave you a position an hour ago!

- Please, come on! - Send them away, come on!

Vincenzo, shall we call the others? Come on, come on, come on!

The two of them and I need the other two.

Attention, we stand in front of the doors...

[indistinct voices]

- Stop the wind! - And stop it!

- I'm working as well! - How is he working?

Enough! More?

Unplug this thing! I'm smoking!

Oh, give me back my cigarette!

Caesar, how much longer?

I cannot work miracles, I'm working on...

Come on, come on, to the other side!

Slowly we panorama them. I'll show you.

Citizens, citizens...

- The artist... - Wait!

- Go... - Peasants, subjects...

- Citizens, rejoice! - Thus.

- The artist you've been waiting for... - Oh!

- Oh, we're trying. - Sorry, eh.

Okay, all right.

So, gentlemen, let me explain the meaning of the scene.

It is the first scene of the film.

We need to bring the spectators in into a cold climate,

the protagonist is cold and poverty.

To tell about the cold we will have these machines.

That's why I insist on them. There will be wind, snow, terrible cold.

It is not an aesthetic reason.

If the audience feels the cold,

we understand much more the rivalry of the characters.

Master Cherry has fire, gave eat

And the other wretch has painted fire. Everything starts from here.

You do it well, help me more With the body to feel the cold.

It's 30 degrees, though.

You are right, but that is the actor's job. I am not an actor because of that.

- We are actors. - Let's do one last rehearsal.

Virginia, come buffer the actors! Last rehearsal and we're rolling.

Tell you what, Andrea. Come.

Come with me. Did you learn the scene with Geppetto?

Yes, I already know it all.

Good thing you are here.

We go in here, we try our lines...

I make you Geppetto And you tell me the jokes.

What does Geppetto tell you here?

"And what do I feed you?"

Then do you remember? He goes to the window, finds the two pears,

brings them to you and what do you say?

"If you want me to eat them, will you do me the favor of peeling them for me?"

Very good! That's it, very ladylike.

Always with this air of a gentleman, bravo! We'll do it again later anyway.

Bravissimo!!! Good thing you are here, Andrea.

- But do you enjoy making this film? - Yes.

- Yes. Yes or no? - Yes.

Quiet, we are about to turn! Luigi, we are almost there.

I have told you twenty times,

I don't want anyone overlooking.

You can be seen, you are in the field. Get back in. So are you.

Everyone inside, no one must overlook.

Easy, why are you shouting?

If you look out, we cannot turn. Ma'am, you too, inside. Thank you.

To action we move As we have rehearsed.

Ma'am! Will you go inside? What language should I say it in?

In. Thank you!

Quiet, get off the field! Madam, you've broken your balls!

What the fuck! Go back inside and close the window!

- What the fuck! - Caesar!

How dare you? How did you speak to this lady?

This is their home!

We have to ask permission we Because we are invading them!

- We haven't figured it out yet. - I understood, though...

"I understood" what? "However," what?

- It is their homes! Understand? - I understand.

We are the ones who are invading their lives!

First life and then cinema!

Life first. If you don't understand that, there is no point in making cinema.

Cazzabubbola.

Come on, come on! Come on, come on, come on.

Madam, please come inside. All in position.

Take the field...

- Sorry, Luigi. - Engine.

"The Adventures of Pinocchio." 24, 3, first.

[airplane rumble]

Wait until there is a plane.

Come on, Caesar, hurry up, that lasts a moment this light!

- Come on! Come on! - Off the field everyone!

Off the field everyone, we need to turn.

- [man] Everyone in position! - Come on, go play over there.

All those who are not on stage, off the field!

Off the field everyone!

[indistinct voices]

[shouts]

Come, come. Come.

Come slowly.

Silence! Silence, mind you!

- Doesn't it just tip over? - But that it will tip over?

No, stop!

[shouts]

Viola, it's a total, the sleeves can't be seen.

Let's hurry, or else we'll lose this horse light!

Quick, that the sun goes away!

Turn this fire up a bit. You are the best, children.

[Caesar] Come on, come on! Enough, enough, go!

- Caesar. What's the problem with that? - Nothing. Just a minute and we're there.

- Bring the donkeys here. - How's it going with 'em donkeys?

- They are agitated. - You seem more agitated.

Why isn't the butter man greasy? He must always be greasy!

- Up children, come on! - Caesar! Come on!

- Do you know that you have to get out of the field? - We know.

- Let's wait for the go. - All right.

- Caesar, let's go. - That's it, ready to shoot!

Ready, go! Go!

Let's tie up the last donkeys. Luigi, here we go!

Good, turn it up a little bit.

- Ernesto, did you follow up? - Yes, all right.

Start wide, keep the children in, keep in Lucignolo and Pinocchio,

Then, slowly, go and squeeze on the cart.

Get out of the way!

Quick!

[verse]

- How are we doing? - We have been ready for an hour,

But if we don't shoot when it holds?

Away we all lose the light on horseback!

Do engine, eh.

- Engine. - Take the field!

- Silence. - 43, 5th.

Luigi. Shit, he's on the field!

- Do I give the stop sign? - No, wait.

You are on the field! Go away! Go away!

See if 'this little girl Makes me miss the shot....

- Don't put yourself there, too. - Away! To the other side! Go away!

You're on the field! You are still in the field!

You're on the field! Get out of there! Away, away!

He is still in the field! Go away!

You are in the field!

Wake up!

Go!

Still in the field! Go!

- Silence! - And action!

[horse neighing]

[nitrates]

Eh! Look, this is the light on horseback.

It's beautiful, isn't it? Here.

You have to be careful, though,

Because it is fake, it is an illusion.

[Luigi] And stop! What was it like?

- Good one! - Ernesto?

Good, good.

[Luigi] Very good. Beautiful! Let's do another one right away.

[Caesar] Let's get the cart back [Caesar] in position, everyone in position!

[donkey braying]

[indistinct voices]

[voices inaudible]

[playing a lullaby]

[indistinct voices]

There is something for everyone, up.

Don't get a bellyache with all that sugar.

[indistinct voices]

Go on the merry-go-round, go.

You, Lucignolo, just got off, be content, do...

Let's continue with the movement!

[indistinct voices]

Easy! That's how you get hurt!

You stain your clothes, come here!

[donkey braying]

Go. Stop here, stop here. All right.

- Proof? - Yes.

First rehearsal!

Thank you.

Silence! We all have to be quiet!

Gentlemen.

I especially address adults, I understand children...

Everyone in position! We are working here!

I want the butter man inside the cart!

All the children slowly on the cart.

- Come on. - Caesar, are we there?

Here we go, here we go.

[verso]

- Come on. - Come on, quickly.

On the cart, but give me the cotton candy.

On the cart, come on.

You go down first, okay?

To action, let's all get off!

One, two, three!

[shouting and cheering]

Way to go! To action!

Silence! Everyone in position! Ready to turn!

And motor -- and action!

Child, you must come down! It's action, come down!

Get off!

- He said come down! - Come down, we are all waiting for you!

Action.

[muffled voices]

[muffled] Action!

[inaudible voice]

And stop.

Love, but are you okay? Huh?

It is too beautiful!

Oh, it's too good. So with this enthusiasm,

When you hear the action, come running down!

Up!

- Luigi, what happened? - It's all right.

So, all in position!

Come on! Everyone in position!

It's engine -- and clapperboard in the tail.

Party!

Action.

[reporter] New episode of violence in Milan.

Last night around 7 p.m.

the director of the Siemens plant in Zavattari Square,

Idalgo Macchiarini, 42,

Was beaten, pushed into a van....

These people are crazy...

Hanging around his neck a sign, "Red Brigades.

"Striking one to educate a hundred. All power to the armed people..."

But the conceit -- conceited exalted.

In the van, officers found another cyclostyled sheet of paper

always signed "Red Brigades."

Did you see that, love?

There are people who think that today it is enough to make a drawing

To change the world.

Just be a little extremist, hardcore and pure.

Either you are on the right side Or you are on the wrong side.

If you are on the good side, you make a revolution,

If you are on the wrong side, they take you for a fool or a traitor.

These are just murderers.

Now, however, finish that drawing.

I'm not even good at drawing, that's the truth.

Even the ceramic dachshund...

I hadn't done it on my own.

And what do I care?

What do I care if you can't draw?

You daubed a wall, finish it!

Learn for once to get things done.

Even if you fail, so at least you understand that you have failed.

Today all artists And all the revolutionaries, eh?

[sirens]

♪ I will grow ♪

♪ I'll pretend ♪

♪ Because it's right, sooner or later ♪

♪ Give it to him ♪

♪ I don't know ♪

♪ If I know how to love ♪

[voices inaudible]

[muffled traffic noise].

[siren wailing]

[sighs]

[door opens]

Look, sorry.

I would like to talk to you for a moment.

I want to ask you one thing.

one thing.

But you must promise to tell me the truth.

Yes.

Do you do drugs?

No.

Are you telling me the truth?

- Yes, Dad. - I believe you.

I have always believed you, I trust you.

I refuse to supervise you.

I want to believe the words You have said to me, as always.

So think about it...

And answer me truthfully, I will ask you one more time.

Do you do drugs?

No, Dad.

All right, all right.

Hi. Where are you coming back from?

From a concert.

- And where do you come back from now? - From a goldsmithing class.

I am learning how to make homemade bread.

At the Poetry Festival.

A loom course.

Where are you coming back from tonight instead?

I found that I like reggae,

I only listen to reggae now.

Do you know who you remind me of instead?

You remind me of a character from a Huxley short story.

Two or three thanks. Have you read it?

- No. - Read it. It is very good.

The female protagonist

If he is with a photographer, he is interested in photography.

Then she falls in love with a painter and becomes passionate about painting.

Then there is a new poet boyfriend And he starts writing poetry.

Then he also meets an ethologist and learns the names of animals.

Read it, because.

The dialogues are beautiful, eh.

"Love, if I don't frame the world, I no longer see it.

Oh, honey, without painting I do not live.

If I don't write poetry every morning, I don't understand anything anymore."

Ah, then the ethologist tells him:

"I die if I don't pet a wild animal!"

Do you understand?

A jerk, basically.

No, I did not say that.

Let's say a creature highly swayable, that is.

Mm?

- It is the mimesis. - Oh, sure, mimesis, I get it.

Yes, mimesis, Dad.

- Understanding with the body. - Of course, with the body.

Yes, with the body.

Do you still have a body, Dad?

What did you teach me to do The things you taught me to do?

"Little girls are like boys, they can do the same things."

I didn't. It was enough for me to leave the house To feel the contempt.

But there was already that contempt anyway in our house.

And do you know where he came in, Dad?

From your head.

Yes.

How much easier was it when I was a little girl?

But now that I'm a woman, it's quite a mess, huh?

How do you do now that being ... perfect.

Now she has become a woman,

equal to all other women That you, like everyone, everyone...

Subtly, you politely...

But viscerally,

do you despise?

[slams door]

[indistinct noise]

[a door opens]

[locks door]

[classical music]

[indistinct noise]

[sighs]

[sighs]

Will you open up for me, please?

Open, please?

What are you doing? What are you doing?

- Let go of me! - Get out!

- Liar! You are a liar! - Father!

- Sorry! - You are a liar!

Gross!

Gross!

Gross!

You lied to me, you lied to me!

- You lied to me! - Excuse me!

Look at me!

I am so ashamed.

I'm so fucking ashamed!

[Louis breathing heavily].

I suck!

Shut up! Shut up!

Dad, I'm shit!

Shit!

I can't do shit, Dad!

God, I hate myself!

What a failure...

Sorry. I don't like to do anything.

I don't know what I'm doing, I don't know ...

I am a failure.

Father, I don't have a dream,

I don't have a vocation, I don't know what I'm doing, I'm just ...

FUCKING SHIT.

I'm a shit. Look at me.

This idea of failure I know it really well.

Look, let me tell you something.

When I was about your age

I was editing my first film and this film seemed to me ...

That it didn't quail, it seemed to me all cold, distant, wrong.

I remember that I wrote a letter to a friend of mine...

in which I told him that of all trades I had tried...

the director was the only one that had failed me.

And yes, then it took me almost ten films

To make something that looked like to what I had in my head.

But even after that...

even when I started making some pretty good films,

this sense of failure...

Of not being up to the mark...

I always carried it in me.

It stuck with me.

In the beginning when I was making films...

maybe I shouldn't have been a director, I was too good and kind.

I never knew how to say no

because I wanted to work

And everyone considered my cinema too good and kind,

maybe they were even right.

Then this sense of inadequacy, of not measuring up.

in my opinion comes from much further back, from...

From the child I may have been,

Always alone, shy, migrant...

Although it is precisely in that child that I...

I found my strength, my stubbornness.

So, I'll tell you what, I'm telling you this for two reasons.

First...

Always tried, always failed.

No matter.

Attempt again

Fail again, fail better.

The second...

get it into your head That I will no longer leave you alone....

And you have to deal with it.

I will not leave you now.

I'm always sticking to you.

Look at me.

Look at me.

[man on megaphone] This morning In Via Mario Fani, at 9 o'clock,

has been kidnapped DC President Aldo Moro.

This morning in Via Mario Fani, at 9 a.m,

The president was kidnapped...

- What happened? - What do I know.

[man on megaphone] This morning on Via Mario Fani...

- Huh? - Huh?

[man on megaphone] Has been kidnapped the president of the DC, Aldo Moro.

- Wait, wait. - Ssh.

[man on megaphone] In Via Mario Fani at 9 o'clock...

- Who did they kidnap? - Moro!

- What? - Aldo Moro!

- Moro? - Yes, they kidnapped Aldo Moro!

They kidnapped Aldo Moro!

Continue the theme! Do not applaud! What are you doing?

Don't clap, don't clap!

Don't applaud!

No clapping! No clapping!

[exultations]

Good!

Sit still, good!

Don't applaud!

Sit down! This is crazy! Continue the theme! Fools!

You don't know what you are doing. Start the theme again!

Go ahead and write! Where are you going?

Come here! Come back!

[man on megaphone] This morning In Via Mario Fani, at 9 o'clock,

has been kidnapped the president of the DC, Aldo Moro.

This morning in Via Mario Fani, at 9 a.m,

has been kidnapped the president of the DC, Aldo Moro.

This morning in Via Mario Fani, at 9 a.m,

has been kidnapped the president of the DC, Aldo Moro.

[helicopter]

[voices inaudible]

[reporter] Certainly, certainly.

From Via Caetani came the first images

from the place where the car with the car with Congressman Moro inside.

This is the place where De Matteo arrived

than to journalists stationed 80 meters from the site

he said, spreading his hands:

"I confirm that it is Congressman Moro, that's all I can tell you."

You see the crush Of this small, narrow street,

usually traveled not by traffic, but by people on foot.

There the traffic flows rushing down Via delle Botteghe Oscure,

making a ring road around the lanes.

[priest] Blessed are those invited To the Lord's supper.

Behold the Lamb of God Who takes away the sins of the world.

Oh, Lord, I am not worthy To partake of your table,

But just say the word And I will be saved.

On the night when he was betrayed

he took the bread, gave thanks to you With the prayer of blessing,

broke him, gave it to his disciples and said:

"Take and eat them all.

This is my Body offered as a sacrifice for you."

After dinner, likewise, he took the chalice,

gave you thanks With the prayer of blessing,

He gave it to his disciples and said:

"Everybody take and drink from it.

This is the cup of my Blood For the new and everlasting covenant,

poured out for you and for all In remission of sins.

Do this in memory of me."

Cupid, I will not leave you.

I won't leave you, I swear.

I'm not leaving you.

How are you?

Look, I have to tell you something.

I have decided that we are leaving...

you and me.

It is better if we leave.

No.

But where do you want me to go? Come on.

Let's go to Paris.

But when, sorry?

Now.

- I have to pack a suitcase. - You don't have to take anything.

I have already taken everything.

No, I have to go by the house, I have to go to a friend's...

You don't have to go anywhere, you don't have to see anyone.

I told you we are leaving now.

What about your work?

The work...

It doesn't matter now.

E...

How long will we be gone?

Ah, I don't know.

The time it takes.

And what are we going to do the time it takes in Paris?

Well, let's go to the movies.

Cinema.

[train noise]

[rock music from radio]

I'll tell you what,

But this rock and roll Is never going to stop dying, huh?

Shit!

[siren in the distance].

[rumble of thunder]

- Where are you going? - I'm going downstairs to buy cigarettes.

No, wait I'll go with you.

- Don't worry, I go alone. - Never alone!

Remember what you promised me.

I have to go out.

- Oh, let go of me! - Come here!

Let go of me! Dad, what the fuck! I broke my balls!

I can't take it in here anymore, I'm going out of my mind, there's no air!

If you go out that door, you don't see me anymore.

[thunder rumbles]

See that you decide.

But if you get out of here, I'll take the train tomorrow and go back to Rome.

But you will never see me again For the rest of your days.

[rumble of thunder]

Sorry.

Come on, let's go for a walk together.

Getting dressed.

Let's hope at least that it won't rain.

[snorts]

Here it is.

[in French]

Here.

Ah.

Laugh, laugh.

[Louis] We are always running.

- Wait for me! - No.

- Wait, please! Please! - No! Come on, dad, hurry up.

- I asked please! - It's my rhythm, keep up with me.

You are bad.

I get you, you are really bad, that's the truth.

All right, I'm bad. Are you going to move now?

Can you at least slow down?

Come on, Dad, seriously, that's enough now, move.

[rumble of thunder]

You've always been a walker, come on.

You're doing this on purpose, huh?

Dad, move.

Walk.

I said walk!

[snorts]

- Be careful, huh? - Yes.

What?

[speaks French]

[indistinct voices]

When I think back to me as a child emigrated to France with my family,

I remember this sense of great loneliness...

In a country from which I always dreamed of escaping to come home.

Until, one day.

had gone to the city

And I waited excitedly for a little girl Who had given me a date.

I was waiting and waiting And this little girl never came.

At one point I turn around and see a movie theater

And I decide to go inside.

It was called "Majestic Cinema."

I walk in and see this actress on a poster

Who seemed to me a goddess come down from Olympus.

I'll keep it short, this little girl was not coming

And I buy the ticket and enter the hall.

It was a film from '32,

Pabst's Atlantis,

I don't think I understand anything about.

[Louis] But I was shocked by this sensuality that emanated.

It took place in the Sahara desert,

where there was this mysterious queen, Antinea,

who ruled the Tuareg people,

with whom the protagonist falls in love, a French officer,

Who wants to understand, after being caught,

Who this Antinea really is.

There is this memorable scene

In which there is this lieutenant who tells him.

"Antinea...

Antinea...

C'est Paris!"

And there's this fabulous reversal

in which from the Sahara desert you find yourself in a theater in Paris

full of lights, of gorgeous dancers dancing the cancan.

Oh, to me that day Changed my life.

Because I understood That with cinema I could escape.

Do you understand? With imagination.

Are you hungry?

Yes.

Then we must immediately go find a place.

- Dad. - What is it?

I'm okay now, I guess.

[movie character] Antinea...

Did you hear that?

Antinea...

[together] Antinea...

C'est Paris!

[lively music of the cancan]

Hi. Welcome back.

- Welcome. - Hi.

Look at the face of this. Come.

This is much better than you. Let's go to the room.

Shall I take your bag? No need, don't worry.

How was the trip?

Well, come on.

- Are you staying for a while? - One week.

But is it true that you are preparing a film of your own?

Yes.

And what is this film about?

He will talk about my complicated years.

Ah. Come, come.

[wails]

Well?

Aren't you going to say anything?

- And of what? - About the film.

Ah!

What should I tell you?

This is a profession in which it is good not to give too much advice.

All right, but apart from advice, I say.

I don't know, what do you think?

What do you want me to think about.

I've made more than 40 films, never made an autobiographical film,

you make the first film, you make it autobiographical.

What should I say to you? Congratulations, you have a lot of courage.

- You are angry. - But go ahead.

I just don't understand why you all have this need

Of telling your stories in movies, I don't understand it.

I then always made very popular cinema.

I was trying to make good films, I hope some of them turned out well.

But films that were understood by people.

Not that they were just talking about me.

Anyway.

I wish you to make the most beautiful film possible

and especially that it is very successful.

Why it matters.

I will leave you now.

Ah.

One thing though.

Don't ask me to see this movie

Because I just -- I can't do it.

[applause]

Go, go, go!

Beautiful, wonderful. Check this out.

[indistinct voices]

Beautiful, wonderful.

[voices inaudible]

And put a smile on your face.

Here.

[indistinct voices]

- Dad, what are you saying? - No, you can see the image.

Is this okay?

But do all these friars fit in the frame?

It seems so.

- It's wide enough, what do you say? - Yes, it's fine.

Look, always remember to make these totals.

Do you understand? Come here.

You don't always have to take close-ups, totals are important.

You have to make it clear where the characters are, you place them,

Otherwise the audience doesn't understand anything.

Do you want us to rehearse or shoot it?

- Have the friars give it another try. - Whatever, try the friars.

We are ready for the prayer test.

- What's the matter? - Nothing.

Come here.

Yes.

- Why are you looking at me like that? - How?

I understand that you think.

You say, "What do I have to do with all these friars and this movie?"

Ours is primarily a job,

you have to try to do it in the best way possible,

even when what they ask you is not quite the movie you would like.

It feels really good to be on the set again.

I know and this movie will be beautiful.

Ah, the important thing is that it stands.

Movies either stand or they do not stand.

Then the public decides.

[together, in Neapolitan]. Let us go home!

Make us come home!

[indistinct voices]

- But what are they saying? - They are saying, "Let us go home."

But how do you "let us go home"? Come on!

[indistinct voices]

Gentlemen, gentlemen, but what kind of prayer is it, excuse me?

- Have you learned the prayer? - [together] Yes.

Then say the prayer.

[together] Ave, Maria, gratia plena dominus tecum.

Well, we are almost there. Pass the plane and we're there!

Ave, Maria, gratia plena...

Ours is really a good trade, isn't it?

Yes.

Come on, let's shoot! Off the field! Go!

- Out! - Out, out! Quick!

Wait, that there is a plane.

[airplane rumble indistinct voices]

Just a minute there's a plane!

Friars, silence!

Thank you. Ready?

And it's engine!

Thirty-two, 1, first.

[clapperboard]

Is it good?

And action!

Are you bored?

No, no.

Away Sundays are like that, you never know what to do.

[news theme song].

[reporter] Here we are after the news from the news...

[Narrator] For 23 years there has been the national park in Sila...

American soldiers...

Wait, go back, that there is Paisà.

Oh!

How wonderful.

[film character] Partisan...

Another dead partisan. I'm going to pick him up.

[in English]

I'm going anyway.

See that you do well, eh!

[movie music from TV]

[thud]

[gunshot]

[film] This was happening in the winter of 1944.

By early spring the war was over.

[movie music from TV]

Dad.

Too good.

It is too good.

Too good.

Now.

you know that I don't remember anything anymore,

but I remember all the silent films one by one,

I saved as a boy Before they were sent to the scrap heap.

We used to retrieve them with these two friends

from parish theaters or from neighborhood cinemas

Before they destroyed them.

I used to keep them at home, under the bed.

It was with those films there that we then founded the Cineteca di Milano.

Cinema is like that.

When I think of cinema, I am reminded of the image

Of the child who plays in the garbage And finds a wonderful marble.

Then he says: "Dad, look what I found!"

Because that is what cinema is like,

shows you what it finds.

I would have liked to show what I had found to my father,

But I didn't make it in time, he left too soon.

But you made me experience great emotions.

Because you threw yourself into life With courage, with decision.

You looked at all your contradictions,

I've been in a lot of pain, let it be.

It is with that courage, though,

Because of that courage,

That you had the right To walk with your head held high.

Do you understand?

[laughs]

See what Rossellini does?

[seagull garritos].