Original subtitles

Always nice here, huh? When we go back to Catania, it's always nice.

[Man] Doctor Gulisano!

Turi Prezzavento of Namber One Production, very glad to welcome you.

-Ah! I'm very glad too. -We finally meet!

-We spoke on the phone. -Of course, right?

-What are you both doing? -No, what are you doing?

No, they are with us.

-Ah... -They're filming the backstage.

-Backstais? What is that? -It's a backstage.

I mean, is it necessary?

For our first meeting I wanted some privacy, if possible.

It's not that it's necessary, but when we start a new production

we always try to document everything and they...

Um... She's Silvia, he's Arturo.

In 2 minutes you'll no longer notice their presence, so

if you kindly let us continue, it's important to us.

Ah, if it's important to you for the film, it becomes important to me too.

Your presence isn't welcome, truth, because I wanted 2 minutes of relaxation.

Maybe the four of us could sit down...

We can talk freely. She...

-Let us work… -Then guys, let's sit down,

I'll make you try something fantastic, a taste of our land.

I already mentioned to you on the phone

what's our idea

-Mmm. -about cinema.

We want...

With our boss,

to invest a large sum of money

on this new project. Our boss is a great entrepreneur, he is...

Someone who invested in sports, on...

On horses, on nature, on tourism, in short one...

Who loves beautiful things, like you, and so when he sees something beautiful

he wants to make it his.

And to make it his own, he takes it and relaunches it, in a big way.

He would be patron, a philanthropist, someone who...

Exactly! A lycanthropist. Someone...

Who was hit,

for his first cinematic work, do you know from what guys?

From the fact

that, even though he doesn't boast, Doctor Gulisano is from Giaconia!

-This brings you credit! -Good.

Because you in your films

you sang, you danced, you wrote them, you produced them, he filmed them.

Let's say, you were a scribbler, and more. This is it.

The spirit of Giaconia, this is what our boss wants in the film.

You exaggerate. I have, yes, made several films...

And often in my productions I play different roles, however

You well understand that for a feature film

there is a need for...

-Many people and many resources. -Of course, right?

For example, for this film, what would you need, specifically for the film?

How do we know? We still...

We still don't know what this movie is about.

Well.

I mean... Is there a script? Anything?

Of course there is a scream, of course there is.

The script.

Of course there's a screens.

It's a beautiful story, it talks about a poor boy, actually...

A poor, humble child,

born from very disadvantaged families

of our land,

but thanks to his strength and his intelligence,

he made his way into his neighborhood, into his city

to conquer his nation and eventually to conquer the entire world.

The boss of the world, in fact. This...

This must be the title of our film.

-It sounds like an exciting project... -It is, it is.

But we would like to understand what production times you had planned.

This depends on your commitments, you have to tell me, right?

When do you want to start?

Look, the important thing is, guys,

that it'd be screened on February 16th which for us is an unmistakable

and important date for our community.

Which is Saint Giuliana, the patron saint of Giaconia.

Yes, yes, but for us it is the annual occasion to celebrate

all together with our community our boss's birthday.

So it's an opportunity that the film

must not, cannot miss, God forbid!

No, maybe we didn't understand each other.

We thought we'd be ready in January

to start a pre-production.

What does it mean?

Look, we could start filming... Guys, I think that

by June

we could do it and deliver the film...

before Christmas.

I think that...

Come on, dear... So.

I see you a little confused. Maybe because we have nothing to drink still.

Davide, when you can.

So let's do this. Since I've stolen enough of your time this morning

I don't want to waste more chatting.

I want to leave you a little thought for this morning spent together,

with this beautiful sun of this Earth

and start planning our film right away,

so that we can start it in the next few days.

So that on February 16th we are definitely ready for our boss.

Who cares a lot about this work.

Thank you, thank you very much.

-It seems a bit exaggerated to me... -Watch the table,

I don't want a gust of wind to blow it away, doctor.

No, no, no, I mean... Um...

I don't think... This seems excessive to me... Also because...

I would like to do

some thinking first... Um...

-about this project before accepting... -Meaning?

No... I'm embarrassed, though...

We didn't talk about a possible fee...

Doctor Gulisano, I'll tell you.

100.000€.

Well... Are you serious?

Doctor Gulisano, since now

you put down the envelope

and above all we all agree

on the €100,000,

I would say not to waste any more time.

I'll let you try this again next time I see you

much more focused on the film. Let's not waste time talking,

come here, Dr. Gulisano.

I'll make you feel better.

Not with tamarind.

Let's go, let's go.

-Since the guys have to follow us... -But...

Then... Then we'll think about it. Doctor.

What I was telling you. Since we agree,

the first thing we have to think about is the title. The boss of the world.

All set?

Dear friends, we are back in Sicily.

We are, as you can see, in Catania, our beloved Catania.

And we are here, because a producer from Giaconia contacted us

to propose a new film.

A film that, according to him, has a big budget at its disposal.

When we hear certain phrases, we move carefully,

because in these years we have met some

crooks, show-offs, pseudo-producers that propose and the in reality...

But, I have to say that...

This gentleman seems like a good person, seems someone we might trust,

a decent person, so...

May this be the right time?

As we always do, as you're used to,

to tell you everything that might happen during production,

there will be our faithful Silvia

and our great Arturo.

So get ready

for a new and legendary

backstage!

[Upbeat and happy music]

Oh, we're here, doctor Gulisano! Oh guys, don't worry.

Enzo? Enzo? [Knocking]

-Open up! -No one's home! [From inside]

Enzo, Turi Prezzavento. Open the door.

Enzo!

-Open up! -Oh Turi.

Oh good morning!

-Good morning... -Good morning!

I see that, Turi, but I'm not here today.

We see that, but we're here with doctor Gulisano, with the guys...

-For the schritt, right? -Who are these, cops?

-They're with me, could they be cops? -They're cops!

What the, Enzo! Wait, open up!

We're here for the scnitt.

-The one you made... -What's this snitt?

He meant the script.

Script...

Ah.

-Is he the director for the movie? -Bingo!

-Don't worry, he's harmless, guys. -Why didn't you say it before?

-Don't worry. Doctor Gulisano! -Come in, please.

-Please, please, doctor Gulisano. -He's an artist, after all.

-Artist... Move, these are cops! -No, no!

[Angry voices from inside]

So, doctor Gulisano, one second. I fix some medicines,

-because now at noon there are only... -Enzo! Stop.

Doctor Gulisano, guys, he's an artist,

but he's also a very up-to-date vendor, one of those that work

for a third party

of distribution of alternative therapies, herbs...

Substances that help people quite in disarray. But!

He's a genius. He wrote the sfrint of a spectacular movie.

-Script... -The movie starts

with the Boss at 10 years old

breaking in the villa of a rich landowner

and with a kitchen knife he steals all of his money

-and jewels. -At 10 years old, 10 years old.

At one point...

He goes inside the bedroom where this rich landowner slept

and looks him in the eyes. Mind you, doctor Gulisano, eh!

This scene must be masterful. We have to see that, while

he looks at him with a smile on his face,

he takes the kitchen knife...

Zaaac! And a minute later he kills him.

-This is the scene, this is it. -Mind you, eh.

-This is the scene. -Yes, but...

-Doctor Gulisano, one second. -He's crazy.

It's the truth. No, he's telling you how you'll have to direct it.

They buy a house outside of town.

And, with the money from the bribe

asked from the rich landowner, they buy weapons.

-Ehm... -The power.

Guns... And at a certain point

Do you know what they do?

With that money? They do business

with the Americans!

With the Americans!

-I'm already getting that... -Oh! Who are you?

-Who are you?! -What do you mean?

[Incomprehensible angry voices]

[Silvia] This one's crazy, let's go!

With his faithful...

Do you know who was in his team? [Giggling]

Tano Whining, Pietro Kamikaze

and Tano Sickhead!

Straight-shooters.

But at one point,

Pietro Kamikaze

and Tano Sickhead,

that

a policeman called Pietro Luigi Sciacca,

-despicable and cop... -Aware of being despicable.

Wanted to arrest the Boss

and out him in jail!

Fuck...

What does Tano Sickhead find out? Who's passing him the information?

A certain Silvana the Bhore!

A woman from the town

-Listen. -But what does Pietro Kamikaze do?

Pietro Kamikaze, what does he do?

He chases the woman...

Pam! And he kills the first born, her daughter.

He's explaining the image to you.

The cop...

[Laughs] After getting the recordings that the woman gave him,

he tries to run away!

But Tano Whining finds out.

Pum!

Pum! And the woman, seeing this, tries to run.

And her son arrives.

And she tries to reach the car.

But at a certain point what does she do? She can't, falls on the ground.

But Pietro Kamikaze...

Pum!

A hit in the center of her chest and leaves her on the ground.

-This is a shame... -Sssh! Silence!

The kid crying, falling on his mother's chest...

Mom! Mom! [Crying]

Of course we're talking about the son of a Bhore.

Exactly.

What do we do

with this kid?

-The boss... -Plot twist.

Cold as an ice ball,

takes out his gun.

Pam!

A shot in the middle of the face

and finishes him, him too, son of a Bhore.

Pam! Pam! Pam! Pam! Pam!

Other five shits in the face!

-The boss of the world. -And he finishes the whole family.

This must be a masterpiece, mind you!

Doctor Gulisano. I can read it in your eyes!

-Mind you, doctor Gulisano! -In your eyes!

-This'll be the movie The Boss of the World. -Director! Mind you.

-It must be a masterpiece. -Let me kiss you.

-Pam! -I have a gift for you.

-Congratulations. -Thanks, Turi!

Oh! It must be a masterpiece. The Boss of the World!

[Giggling]

I don't understand what you're trying to say.

I'm saying that, even after all the money you offered me

and that I'll maybe never see again in my life,

I can't make the movie as it is now.

I can't.

I can understand bombs, guns, knives, all that you want.

But the brutal murder of a child, I can't do it!

Not now nor ever. Plus, let me understand.

This boss that wants to make this movie of his life,

monstrous, made of violence, murders,

I mean, is it to confess? It's better if he goes to the police and...

Oh, what the fuck are you saying??

Let's finish this. By the way who told you

we're really talking about our boss?

He's a character that, thanks to his strength and intelligence,

made is way in life

and let his family shine in the world.

We're talking about a hero in case you missed it.

Herod? Heroes save the world, they don't try

to destroy it killing honest and innocent people.

What honest and innocent people are you talking about? The ones ready to snitch?

The ones ready to sell friends and family?

This is the fight against infamy.

This is the first time that these things have been discussed in movies.

And you will have the chance to do so.

Also because I remember you

that you have to focus now, because we have offered you €100,000

-and you accepted them. -Listen. I...

I said yes, that I had to evaluate and

anyway I didn't sign any contract.

Still with this fucking contract! We shook hands,

among good and honorable people

shaking hands is worth more than waste paper.

-With which we wipe our butts. -Listen, look.

Here's the envelope you gave me, which I don't even...

Now you take this money, because you accepted it and put it in your pocket

and now they're yours. So they stay in your pocket and not in mine.

Maybe we didn't understand each other.

These scenes, the film as it is,

if I don't have the possibility to edit it, I don't do it.

I don't do it. In fact, we're going to stop now and get off.

No, no, no, I'll tell you what we're going to do. Now you turn off this camera.

No! No, I don't turn anything off!

Now I'll explain to you how it works! You shut off this microphone

before I put it in you as a suppository and put this on you as a tie.

I have to talk to these people for 2 minutes and explain what directing is

and what it means to have a contract

and to have an honorable person in front of you.

Something that has never happened to you in your life. Turn these things off.

-I'll give you three seconds: one, two... [Silvia] Ok, but calm down.

[Silvia] And here we are, working on rewriting the script,

with a real enthusiasm...

Listen, but... Is that guy still down there?

Yes.

No, listen Salvo, but this thing is really absurd, eh.

Absurd... Guys, you're right, what can I tell you?

In my opinion,

this one here is one that...

That is controlling us.

Listen, but... Are you really sure that...

You want to continue with this production,

with these very unsavory people?

-Dangerous? -I know.

Uh… Actually…

You are right to have these fears,

I should go to the police and report them immediately.

This is what should be done, but...

If they really make us the contract,

we finish the movie

and they give us those 100,000€.

We can realize our dream of making Sicily the new Cinecittà.

And call all the best Sicilian workers, the talents.

Gather everyone in one land, in one area, where

to create the most important things. All the productions then,

national, international, would like our collaboration,

because they would know that here

they would work freely, without political pressure,

without the blackmail of the mafia... [Phone rings]

-And so... -There you go.

Do you want to hear? Hello?

[Turi] Director! Already with the bubbles, we're sleeping, huh?

We are actually working for you.

[Turi] Sure, yes. Listen, are you happy, you saw who I sent you, huh?

Sure, of course.

[Turi] I told him "Half-a-Kilo, you must not move from there for any reason!"

And in fact... That one's been down there since this morning, staring at the window.

[Turi] Oh right. Half-a-Kilo number one, number one.

Look, I asked you for a runner.

One available on set whenever is needed.

[Salvo] Eh... [Turi] But maybe... It's not clear.

You have it down there, not in Ragalna, Santa Maria di Licodia, Paternò, Zafferana.

He takes you wherever you want

and is at your disposal 24/7.

No, maybe we didn't understand each other. I don't want to see this guy,

you can use him away for your things. Just give me a proper runner and that's it.

Please.

[Turi] Tomorrow morning you'll have the honor of finally meeting the entire crew.

Happy, sure, I can't wait.

[Turi] Alright! Listen, one more thing:

as for the... The crisbies...

The crastings... I thought weekend.

-The casting, you say? -Of course.

It's clear… This weekend?

-It's clear. -What's clear? So Saturday and Sunday?

And when should these actors learn their lines, excuse me?

[Turi] Very clear. Listen, one more thing.

I remember wrong or did you ask me two more...

I had asked for a script supervisor and a clapperboard player,

as in all professional productions.

[Turi] Of course. And what should they do?

What do they have to do. How do I explain over the phone what they have to do?

It's not a simple thing they have to do.

[Turi] Clear.

Oh yes, I wanted to remind you, Prezzavento,

that I still haven't seen my contract.

-So please… -I'll find you the best ones, goodnight!

No, no, no! The contract!

As François Truffault said,

making a film is like making a caravan in the Wild West.

One initially hopes to have a nice trip,

but then he realizes that he might not even reach his destination.

[Music]

Today is a beautiful day, Silvia!

I present to you the best workers

from Namber One Production! Look at those elements, oh!

I would start from the greatest experience of the mythical

Rosario Marletta, known as Saro Scossa,

because he's the greatest electrician in the hinterland.

He made the cables and the switchboards of all... Don Milani, Palazzo di Ferro,

He made the valley in his life. Where you need electricity, there he is.

You...

Aside from all this, have you worked in the cinema industry as well?

I eat with cinema. [Turi laughs]

Do you think that...

Who made the Palumbbo cinema threads? Panels...

-No problem. -Just to surprise you,

but not with special effects, real people.

Here is the computer genius, he ate one. Legendary Tino Parisi.

He has made commercials for supermarkets, video clips,

he made the valley!

He even changed documents for people, for one he changed

-the health card! -Okay, okay, I understand.

With that of Councilor Pennisi!

Yes, ok... Um, what video editing program do you use?

What?

What platform does you work on?

Buddy, I don't understand you. Talk like you eat.

-What are we talking about? -We are talking about cinema,

but I don't want to boast, because it's a word that perhaps you don't even know.

Do you at least have After Effects? Do you?

-Ah, absolutely! -Doctor Gulisano, Silvia,

here's the Court of Cassation, the highest level of judgment.

So this gentleman

should be the sound engineer, at this point?

We're talking about Alfio here.

That is, we are talking about an institution of sound.

He has taken underground recordings that you don't even know about,

in narrow places of the territory.

We call him Alfio the mute, because he is a little taciturn.

That's why we don't send him away from the territory, but he's a great professional.

A great sound professional!

-He also recorded inside the bunkers. -Okay, yes, I'm only interested in...

Do you have... All the tools needed to make this film?

That is, registration cards...

Um... Radio microphones, stand and boom, you have it all right?

Better answer than this! Immediate. Bravo, Alfio.

Few words, but circumcised.

Our jack-of-all-trades 368 days a year, at 90 degrees,

fix everything, bring the patch, even sweep.

-Sherif! Number one. Tell us... -Samir.

It's the same thing, take care of the plants. Now instead...

Let's go to the big ones.

Come and I'll show you the rest of the crew. Happy people, God help them.

I am not Yassif, not Sherif. Real name, Samir.

I call Samir.

[Speaks in Pakistani]

But you should see the bearing you have in front of you, Dr. Gulisano.

This is cinema.

In all its forms, eh.

For goodness sake.

-Congratulations, that's fine with me. -No, no compliments.

At least let me hear your voice, that... Say something.

[Neighs like a horse]

Very good! [Applause]

Very good! Exceptional!

Congratulations 101%!

Written and wicked!

Let's write, let's move on. Number one!

[Horse neighing]

Good morning.

My name is Giambattista Di Stefano,

JB art name,

I am a professional actor,

I'm 45 years old, I'm 173 tall,

weight 90 Kg.

-The tax code is missing. -I have already acted in well

-11 movies. -So...

Well... Can you name any of them?

Tied Hands, Rubber Fist,

Charlotto's Coat, The Spit in the Plate.

Mmm.

Well...

I'm sorry, but I don't know any of them, due to my own fault.

-Attention. -Me neither, due to his fault.

Enrico Maria Tonzoso, Marco Oddo...

And the very famous

-Tatti Panigalli. -Ah, sure, that one...

To be...

Or not to be...

This...

That's the problem.

Well...

I... I'm leaving you...

I'll... leave it to you...

I'm leaving you...

And... And...

How did you leave me in trouble... [Stammering]

And in the midst of the shenanigans... [Stammering]

Well...

We have reached the end of this

exhausting election campaign.

We have seen everything, we have heard everything.

Deputies, Senators,

they kept making fun of us.

Hi.

Well, here it is...

This is the most important opportunity that

has ever happened to me in my entire life.

Because I believe tenaciously in myself

and I'm sure I'll be the protagonist of this film.

If it were more noble...

Tolerate...

The beatings...

[Turi makes a sound] -Adverse death...

Or elevate us...

To fight all our sorrows...

We now say enough!

Let's put an end to these lies.

To this infamy.

Stars are setting... [Singing]

These are the usual ones who starved the people.

Bam!

Caught.

We caught this one.

Come on, look again to see if there are any.

A sovereign and popular democracy!

I will win... [Singing]

Come on, Gino!

Below, look for it.

Come on, there are still some.

No, no! In red... [Stammering]

Of white and red! [Stammering]

And resolutely...

Finish them.

Oh there's Andrea Celeste, eh.

Don't pay attention to him, because he's with that fact, please.

Meaning what?

-So you looked at him carefully? -Sure.

He's an octopus.

His wrists are broken, that's the thing, he's hit by hail.

But it doesn't mean anything.

Because I mean, good families. His father is a great friend of the family.

But he beat him hard, from morning till night.

In any case, there was no possibility of bending it.

He likes cannoli.

Illness.

Eh, I'm so excited to make this movie.

The priest blows again. So Karina...

Here Doctor Gulisano must not waste time.

And he has to talk to us about serious things

about this film production

for which our family is counting on your participation.

-Exactly. -Right, doctor?

The director of the ice here wants to explain to me what this film is about?

So we can get this problem out of the way right away.

But why, didn't you read the script?

No. And what's the problem?

The problem is that you don't know what kind of work

-you're called to do! -If you explain it to me maybe I'll understand.

And don't waste any more time, I have my own things to do.

But where are we going?

Let's sit down for a moment.

Guys, please. Let's sit down and calm down, that's what we're here for,

We explain to Karina how to involve her in cinema.

Come on, Doctor Gulisano, let's make an effort too, come on.

First of all, it's an action movie, okay?

This means

that there will be fighting, there will be shootings,

for which you'll have to do, you'll have to make wounds

from firearm,

from cuts,

from unarmed combat, mmm?

Are we there yet? What does this mean?

That you also have to do special effects, visuals,

mechanics,

opticians...

-It's clear. -Mmm.

Is it clear? It seems difficult to me. However, in addition to this,

since the film is set in multiple eras,

the makeup, as well as the costumes,

will have to follow the various ages. And when it will be needed

prosthetics need to be made.

-Are you capable? -Is that all?

Aesthetic? We have as many as you want.

We also have a hot tub.

We start next week on Monday, Karina.

Perfect. Andrea, accompany those gentlemen, if you don't mind.

I would like to start working on your film right away.

-Absolutely, Karina. -But what?

-What do you want to start with? If... -Doctor Gulisano.

-Let's go to work. -We have to choose the places,

-we don't know who the actors are... -Let's not get hung up on details, doctor.

Excuse me, Prezzavento, I think...

He's a familiar face.

Who? Come on, Dr. Gulisano, let's finish these people.

-You're confusing me, Doctor... -Andrea! Andrea Celeste!

-What are you saying, doctor... -Of course!

-Eh... Miss? Mister? -It's him!

Hey, listen, that's enough. Please, let's finish.

Hey! Hey, young man!

Because your father was a friend.

-Doctor Gulisano... -Prezzavento, but not...

I am an artist!

Yes, at your house. Go and change and take away all these things.

This one has a nice bearing.

Please, who are you?

What does that mean, who am I?

What are you doing? You don't know me?

-He doesn't know. -No.

-Did you come here for the audition? -Listen to this.

I'm here because this is my home.

This is my life. Oh!

-This one, this theater you see... -I understand,

but I don't care. If you came for the audition, good,

if not you can go and live your life somewhere else.

Excuse me, listen to this. Oh, who are you?

-Who are you? -Why are you coming closer?

Can you turn... Are you turning this thing off?

-What are you saying, turn off? -Turi, can I give him one?

-Can I give him one? Can I? -But you don't say anything?

-I'll tear off your beard! -Don't touch me, eh!

I'll cut your beard off! See you outside?

I'm telling you, turn it off, turn off, it's not because you're female.

-I'll beat you twice as hard! -How dare you??

I'll give you double, turn this thing off, turn it off!

I was sure I would become a huge star.

I had a lot of dreams.

And you know what, darling?

I really think you could call me a true romantic, yes, because

I was convinced that they would all come true.

So I dreamed.

From morning till night.

I was dreaming

I was dreaming... I was dreaming.

-He enjoys watching you fall... -That's enough, miss, you can go.

-Enough? -Discarded!

-What are you saying? No way. -You have relatives

that don't deserve the friendship of our family, so that's fine for us.

And then, how do you carry yourself?

That is, she doesn't show her butt, she doesn't know how to shake her hips...

-But you're crazy! -You dress like a spring onion...

I don't cast her, Dr. Gulisano, dressed in black.

-Miss! -Take Dr. Gulisano back.

She's a dead cat, go and change.

Wait a minute, wait a minute! Wait a minute.

You are a very good actress. You have talent and I saw

how much passion you put into acting, that's why I want you in my film.

Thank you, but as you can see it's not possible.

Instead, yes, I am the director and I choose the cast. And I want you with me.

It doesn't seem like that to me at all. Salvo.

If I were you, I would think twice

if it's really worth making a film under these conditions.

What do you have to record?

Bah...

[Silvia] What are you doing, letting her go like this? She's good.

No.

So the great thing about cinema is that nobody tries to steal other people's work.

Right? Oh.

Well, yes, of course, there are those

that steal your scene, your joke...

Nonsense. And then stealing is a heavy thing... Stealing...

Stealing... One can take things that perhaps others don't need.

I don't know, a handful of light wires,

a chest, an old painting... Go...

That's all... Here we are...

Now we can make movies.

I wanted the best workers here,

that's you,

to start our family project,

the great project of the film, of the cinema.

And to do that we need an artist.

that directs us inside the film's sels.

Who better than a great artist like Doctor Gulisano?

Now if you allow him a few words, he will explain to you how to position yourself

inside the cinematic machine.

I mean, you had promised me a high budget.

It's clear, isn't it?

So I was expecting a large crew.

With a lot of people available and then I find myself with a...

-Scarcity of... -But it's not the quantity,

it's the quality of people.

As I still don't see my contract. So I want to take advantage...

-Since we're here... -Oh! I have the pleasure, Silvia,

to present you two diamond tips

or our executive secretary,

that is to say...

Of direction. Our Carmela Vitale.

And above all our good Nino Anastasi, the clapperboarder.

The one who will help him in everything. He is a boy...

-I was saying something... -We had to get him to work.

-Carmela, introduce yourself. -You have beautiful eyes.

-Thanks... -And that beard.

You see, Silvia, if the director is cool...

How much I like it.

-Can I touch it? -Of course.

-What are you saying? [Silvia] Come on, Salvo, let her touch it.

What are you saying... Turn it off.

-Turn it off! -You made him blush.

The king

-of videos in this city. -The undisputed king, Iano Fescion.

-A name... -And do you know why they all come here?

From Romania, from Poland, from... From... From...

-Everywhere. -From... From Nigeria they come!

From all over the world and do you know why?

Because I have everything, I have the equipment. I have the slides,

I have drones, I have cameras with five lenses.

-12, 15, 18, 50 optics. -Dr. Gulisano.

I have a Teletubbies of this magnitude.

But what teletubbies? Telephoto lenses he means.

-Well, the important thing is that he's equipped. -Good, the telephoto lenses.

I don't know, he has...

Tripods, quartz?

Um... French flags?

-Um... -So Dr. Gulisano, to be clear.

Did he just say Iano Fescion? A name, a celebrity.

I can carry a cartload of it.

Light from above, from below, from inside, from outside, wherever we can put them.

Exactly. Exactly, because you did not perceive the sinister, dark tones,

which exacerbate the drama of the scenes.

When I read it I immediately thought

of films like...

-What can I say? The Godfather, here! -The Godfather!

-You know the cinematography... -So Doctor Gulisano,

you hit the nail on the head.

The Godfather. We have to shoot this. Iano?

Doctor Gulisano, he'll actually make you,

he'll lists for you one by one all the condoms you need, Iano, Francesco,

everything you need. He lists them for you.

All listed and he gets them for you

and we shoot the film like the atmosphere of the Godfather.

Nothing will be missing. He has all the equipment. Right, Iano?

-Of course! -And let's get started, shall we?

Hello? Massimiliano, listen to something.

You see, we have a situation on our hands here. Leave the Nigerians alone!

-When... Leave it alone... -Nigerians? What are we talking about?

Guys, no, let's go.

You have to give me a hand...

We finally have the work plan.

Now we hand it over to the crew and hopefully start filming.

Let's start with photography.

Let's see if everything is ready, everything in order. Right, Iano?

-Have we prepared? -What?

All the material you need.

And...

Director, you have to understand. It's not just you.

I still have a thousand other commitments.

I lent the equipment to Massimiliano,

who is doing me a favor with the foreigners.

-What foreigners? What's he talking about? -The Chinese!

However, with the remaining equipment we'll see what we can do.

Alfio, do you at least have everything ready?

I remind you that we're in the countryside, these are action scenes, chases,

so we need radio microphones. We have them, right?

Miss, could you please distribute this.

-Saro? -Oh?

So, we're in the open countryside and there's no electricity there.

So you need a generator. Either a silent one,

or very long cables, so that the noise is not heard.

-Where is this countryside? -In Ragalna, in some...

-Pedicacati, apparently there's no... -I know where it is, we'll use the pole.

But what pole?

Let it go. Don't worry, let it go.

-I don't understand, that... -Excuse me?

-What's up? -But do I have to start working outside?

I asked Prezzavento for a camper, he told me there wasn't one,

so we somehow manage. If anything, we just put you under a gazebo.

You can put your sister in the gazebo. I want a place indoors.

If not, I won't show up.

And not even my assistant.

Sorry, good morning everyone.

I have to find a Culosano director.

Gulisano. It's me, what's wrong?

Nice to meet you, I'm Tony Calcaterra.

But everyone calls me Tony Mattone, because I'm a bricklayer, you know?

-Okay, bye. -Mr. Prezzavento told me

that you are looking for a builder.

So you are the set designer?

Eh... Builder, set designer... I do everything.

I fix walls, patch holes, fix doors, tear down curtains.

-Whatever there is to do! -All right!

I understand, all right. Miss, please give a piece of paper to Mr. Calcaterra too.

Here is everything you need to know about shooting and designing the scenes.

Please, if you try to get them...

Eh... Tell me something.

Well, what do you do to look for this stuff?

Will you give me a deposit or do I have to take care of it?

Because you know, I have two apartments in front of me, quietly I'm going...

What are you telling me? You have to talk to

Prezzavento about these things, excuse me.

[Phone rings] Excuse me, just a moment.

Prezzavento.

Yes, yes, yes, this gentleman has arrived...

But I asked her for a set designer, this one is a bricklayer.

It's not the same thing!

Okay, I get it... What?

But it's not the time now, we still have to start the movie and...

No, no, don't put me through, Prezzavento, I have...

I don't get over...

Yes?

Nice to meet you. No, I don't know you.

What, "Moccolo"?

But what song is this, excuse me?

Eh I don't know you! Yes.

I understand, yes, yes, of course, of...

There will be a song for the movie at the end.

Crazy Horse? But there are no horses in this movie that do...

There are no horses in the script that end up like this.

But I don't care. I still have to start filming, you talk to me about...

I'm not... I'm not offending anyone.

All right, do as you wish. Tell Prezzavento. All right, yes, Bye.

What?

But what are you doing?

I was born to do this job.

Some things can't be taught, you just know how to do them.

Filmmaking is the easiest job in the world.

You take that thing over there, you knock it down,

then comes the one with the camera

and it's all done.

-Oh can you bring me a 14? -Key 14?

But what key! The lens that is placed here, on the machine!

Sil?

Bring me this thing. But then I told you to put a panel here,

a golden panel, one of those reflective ones.

-Panel or key? -No...

But both here. Please, both!

Good morning! I'm Tony Mattone.

And I'm preparing a situation here.

Yes, we have to shoot the film here, here.

A female comes out and gets stabbed

from a piece of stinker.

The director told me that I have to prepare

the tomb, that is, the grave because then...

We do it first, then it's full afterwards.

-I was doing it. -Yeah, exactly. So...

Listen to me.

-What happens when I start? -Doctor.

You can rest assured with me, that's all already...

-Consider the work already done, eh. -It's not that I don't trust, but...

What do I say when we're ready to shoot?

Camera.

Okay, camera, then?

Camera. C...

C?

-C... Action. -No!

-That was right. C? -Clapperboard.

Clapperboard... And?

-Action! -Action.

-Ok. -Look, I remembered that.

What is this for?

It says produced here...

No, what's this for, what is this? The...

This is...

-Clapperboard. -Bravo! And what does it say on here?

-Produced... -No, here!

One... One, one.

-Eh and what does one mean... -Mr. Salvo!

-What is it, oh? Calm down! -Please, help me!

I swear, I studied all night,

but now I don't remember anything, please help me!

Miss, calm yourself and don't get so close all the time...

Enough, oh, you're giving me anxiety!

You want... I don't know, do you want to visit me?

But what to visit, what?

I told you, here, where it says footage, I deleted it 100 times,

I made you write time code, what is it?

When the digital camera records,

a timer starts,

it will start at 00:00:00

when I hit stop on the first scene it will be 00:00...

-50, 40, whatever it is and you write... -1-1-1 will be.

What does that have to do with it! Here I'm explaining something else!

And then it's not like that, 1-1 what is it?

Ah now everything is clearer.

-Okay. -I feel better.

-Good... -If you also want to relax,

Can I invite you into my car?

-Hands off! -There's a problem with makeup.

-You have to come... -There are 10 problems here.

No, director, you have to come right away, they're killing each other.

You have to come right away, leave them alone.

-They're killing each other here. -Eh, what's happening that's so serious

that we've been waiting for you on set for half an hour?

Karina does not work with ignorant and incompetent people.

Those two have been arguing since they arrived,

disturbing the creativity of our artist.

You have to give me the lines, [Stammering]

otherwise I'll get confused, eh! [Stammering]

-Sure, you have to give him the lines. -That's exactly what I was telling you.

-Good. -You owe me the lines...

And I got it!

All right, but... Is that why we're stuck, Prezzavento?

-They were killing each other... -But who chose this dog?

-It's not possible, an actor doesn't... -Shall we calm down?

But these guys are crazy. Moderate your words, don't offend anyone.

Mr. Pappalardo is working, like all of us.

So no offense to anyone on this set, okay?

By the way, he has no lines in this scene.

So you say your line and he shoots, he does what he has to do.

But we can't go on like this! Karina!

-We've been waiting for half an hour. -Karina has no intention of continuing.

They broke her energy flow.

Oh let's stop with the flow bullshit etc. Now let's get to work.

Enough, guys, I want you on set now!

We work.

[Prezzavento] Doctor Gulisano.

[Pappalardo continues to stammer]

The story of this film is beautiful.

Basically there is a woman who is then killed,

then an old man comes and wants to take her away.

But they still have to dig a grave and it's not known when they'll take her away.

I basically didn't understand anything.

The long-awaited day of the first take has finally arrived.

Despite a pre-production that leaves a bit to be desired, but

anyway we're here.

We are about to start the movie.

And when I'm on a set I can't help but get emotional anyway.

Because for me cinema is

magic. From an idea, from something that was a thought, something that didn't exist

takes shape through your faces, through your voices,

through our work, something magical.

That is, you will see an action, a scene, some lines on the big screen

which were only the fruit of a thought

and they finally become real. You have to put a lot of effort into it, but above all

you have to put a lot of heart into it.

Because if we can get excited

and feel the sensations, while we're shooting the film, you can be sure that

these emotions will come

even to the viewer. So let's all make an effort,

let's put our heart and soul into it and I want to conclude this

short speech with a ritual that is done in artistic environments.

It is used to say before starting any show, any shooting,

three times shit, shit, shit.

Because there is a whole history to this ritual. So...

We can share it together before we start with you too.

All together at the count of three.

1, 2, 3.

Shit, shit, shit!

We filled it.

Wonderful. We are all here.

-In position, come on, in position. -Yes, exactly.

-Let's get into position. -Everyone in position.

[Incomprehensible whispers]

In position. Stop it, but we're shooting,

this is the first take, concentrate! In position, you too.

Ready for the shooting scene. Oh...

Iano? Are you there?

So, as I explained to you.

-Camera... -No cars today.

Tomorrow is the scene with the cars.

But what does this have to do with it, and why do you interfere?

They know what camera means, I explained it to them!

-You tell him! -You call the cars...

-Camera, what does that mean? -Eh... I don't remember...

Camera, started...

-But where did it start? -Video and audio recording started...

-Ah eh so you have to... -No, no, we're off to a terrible start.

Very bad. Are you focusing?

-Ok! -In position!

Let's get back together. 1, 2, 3.

Camera...

-Rolling! -Oh!

-Even for the mute. -Okay.

-Go. -Ready? Action!

Action... action.

Action... Action!

[Salvo] You can't start like this... -I don't understand, but in my opinion...

[Salvo] Already at the first take! -The cap must be removed, then...

Damn, that's true... [Chuckles]

We are casting pearls before swine.

With all due respect to pigs, of course.

We're shooting scene 18.

-Yes. -Eh, the perspective needs to be changed.

35.

All right. What are you doing here?

He says we need to move a branch.

But you have to remove those branches!

Oh Abdullah!

Take these branches and throw them over there.

So we're about to shoot the scene where the policeman faces

the two henchmen.

Uh... So there's going to be this fight

inside this slightly more isolated place

and now let's see it together.

So.

When I call the action you are one step back, then you come closer,

almost nose to nose. Come.

Ok, at that point the cop says the line.

I've been keeping an eye on you for a while.

But it wasn't worth it.

You are more stupid than I imagined.

At that point... Oh! What are you doing??

Stop! You only have to pretend!

[Excited and incomprehensible voices]

But we're acting here, what is he doing?!

He's a friend of ours who had to work. Let's take a minute...

What? Did he understand that we're making a movie?

He understood it, he was in the scene, Doctor Gulisano.

-I'm sorry, look... -But I'm sorry for what?

-You're the director! -It's not my fault,

because I didn't know this guy.

I'm going to call an ambulance now, I'm going to get some x-rays.

-We have to stop everything. -And then you, if the nose is broken,

-I'll fix it. -you pay me for damages! Understand?

-He pays for it. -But what damages?

And also all that this very poor production owes me!

-Who made him come? -This is the first time it's happened!

[Excited and incomprehensible voices]

We need help.

We just need to train him.

When you hit him... Come here.

You have to hit him here, not here, or his nose will break. Here.

You keep it. Look...

Are you turning this camera off? We had a little problem with this idiot.

What idiot? Call the police, director!

Bunch of incompetents. But where did these dogs study?

I will file a complaint with the International Stuntmen's Association

and one to the Actors' Union Association.

When I shot Rubber Fist with Tatti Panigalli,

we rehearsed for 3 months, I say 3 months, the slap scene!

Sorry, I knew that everything that happens in the movies is fiction and...

And all the drama he's making now I don't understand...

We are about to shoot

an action scene.

Let's hope, because the way things are going

I don't know how it will turn out, but...

Come on, let's believe it.

So, are you two ready there?

What does...

-What's his name? -Mahmed.

What are you doing?

Oh well, whatever, leave him there, he's out of frame anyway.

He told me I have to work.

Okay, do whatever you want.

Where is Tony?

Oh Tony, let's put the sign on please. Come on.

So... You stop where the sign is.

You arrive, you look right, left and you go out of the frame. Then I call you,

you come in, same thing, okay? Come on.

Camera.

Rolling.

Scene 19

forth, fifth!

Wait... 3, 2, 1...

Action!

Go policeman.

Stop. Stop.

Don't you see that he's lit up in the face? That he's burned?

-Can't you see that he's burned here? -You have to ask buddy,

-what's his name, Saro Scossa! -What are you saying?

He says there are no more panels.

Director, you do your job, I do mine and he does his!

Again! You haven't understood then. Cinema is a team effort!

If one makes a mistake, we all pay.

It's disgusting for everyone, but why don't you understand?

-Listen, Prezzav... -Shall I mark as a reserve?

Mark reserves, since they are all reserves.

-Do you want me to get you something? -No...

Shall we go in the car and I give you a massage?

What massage? In 4 days we did 2 scenes! We'll finish in 2 years!

Go call Saro Scossa, come on, let him put a panel outside.

-Doctor Gulisano! -Get back into position.

Doctor Gulisano! Please. Go call Saro Scossa please.

-Eh, I mean, please, I have to ask... -No, especially.

Something that is expected, something that he has to do!

Doctor Gulisano! Enough talk, please go call Saro Scossa.

Please go and call Saro Scossa and

can you make him put up the panel so we can hurry ?

-Good! -Get into position.

You see, Dr. Gulisano? Politeness is rare these days.

Difficult!

[Salvo] The actor who plays the traitor, stand here.

-Saro! -Eh? [From afar]

-Tony, go get... -What are you doing?

Forget that car, Saro.

[Salvo] ...prepared, but not... [Turi] Come here, please.

Put this panel on there, the doctor's nerves are on edge.

Come closer.

Just now that I had opened it?

Not only does he get busy, but then we get on his nerves.

My best gift...

It's patience.

I never get pissed off.

And then...

And then I love this teamwork.

Eh... They are natural gifts.

So you put these... The hammer is missing.

-Tony? -Here I am.

The hammer! But don't carry that hammer around with you every time.

So let's try...

Saro, what are you illuminating? You know?

Here, on your head! I told you here, here!

Here.

-So, take this hammer. You... -Listen.

I know what I have to do, you don't have to tell me.

But what do you know?

I'm the director and I tell you take the hammer,

you pass it to Kamikaze... Come on, let's not waste time.

You pass it to Kamikaze. Kamikaze kneels,

hits the finger...

Slowly, oh!

Slowly, if you hit his finger you'll break it. How do we follow this?

Let's start with a tight frame

in bust shot of him as he is.

Then we cut to the close-up with the bloody face and he does the scream.

At the end of the scream we end up on the detail of the bloody finger.

I understand. From the close-up,

scream,

sausage with tomato.

-What sausages? -Sausage.

Okay, the sausage, the finger, that's fine.

Hey Karina, are you there?

-Do I look transparent to you? -The finger, I mean.

Is it ready or not?

Don't you see it?

-Gulisano. -Let's not waste time.

-Huh? -What the fuck are you doing, Gulisano?

I didn't write this line that the Boss says.

-How come you didn't write it? -This is the last time I'll warn you.

Then I'll be forced to hurt you.

I wrote, speak you cuckold and cop that

I will nail you to the wood like Jesus Christ.

Oh well, I know this, because I read it.

But I changed it... Now we have to talk about it while I'm filming?

Never mind, the meaning is always the same.

The point of this shit!

-I wrote the meaning! -Prezzavento!

-You wrote... -...because the lines...

But what are you doing?

-What are you doing? -You spat on me!

My God!

-What are you doing here? -Sorry, he spat in my face!

-It's disinfectant. -But you saw him spit on me, right?

-Explain to me what happened? -This animal got pissed off.

Because he changed the writing.

But wait a minute. If he made the srnitt like that

-and he puts the lights in that other... -There's no way that...

It's not like you can just show up and want to change them!

-Good, Turi. -But what does it mean?

But am I the director or not?

-I wrote the film... -But you wrote it, I'm the director!

-You cuckold! -What are you saying?

-Go away, go away, ignorant. -Don't change our lines!

Please, can we at least bring this scene home?

-I tell you... -Excuse me? Excuse me?

But my line... When do I have to say it?

But fuck off.

Oh! Oh! [Whistles]

[Actor] Wait, the doctor's freaking out.

When they explain a scene to me, I understand it immediately. In fact.

I'm the one who tells the director

how to do it.

Honestly speaking,

I am the protagonist.

And I think this movie will fly.

I have to say the director was very good.

He was able to transform all my words into videos.

And on my part,

no hard feelings, just respect.

Washed ladder.

Brought groceries.

Chandelier fixed.

And now bring oranges to friends of Prezzavento.

♪ I don't seem to want you, but I love you ♪

♪ Apparently I don't tell you that you are beautiful, but I like you ♪

♪ I don't seem to be looking for you, but you're my whole life ♪

♪ And if I had the courage to be with you, I would want to kiss you ♪

♪ I would like to kiss you ♪

But listen to me.

This song

for your film no way, I can't give it to you.

Loredano, wait. We're bringing the television,

we talk to the Republic of Bananas, we do science fiction things.

This gentleman comes and tells me that the song has nothing to do with the film,

with the scenography, but no way!

But do you know how many horses the Boss has?

A riding school in Primo Sole, two in the

Biancavilla vineyards, two in the Syracuse area.

50 horse butchers throughout Sicily.

And then what does he do? He tells me that the

song Crazy Horse has nothing to do with it.

Indeed, this is the sacrosanct truth.

I don't know your boss's passion for horses.

This is clear.

But...

But I can understand

yours for a certain kind of music.

-And this is also clear. -For a certain type of environment.

But what I would like to tell you is...

It's that I left the filming of the movie to come here,

-to hear this gentleman's complaints... -No, no, no.

Because without his music there can be no distribution for the film.

For the love of the people who are working on it,

a minimum quality product to then offer to an audience...

The song has to be this, Crazy Horse. Period.

-It must be... -Let's do this.

But at least tell me the story of this song,

let's see if we can fit it in somehow.

Can I? The song is a true story.

It's a story about a horse named Goofy.

Whose owner was very much in love with it.

He had made him win a lot of illegal races, a lot of money.

Only that unfortunately one evening he had organized

the most important race, in quotation marks,

-this horse swerves and breaks a leg. -Oh sir.

The master reluctantly realized immediately that he had lost his wife,

he lost the money, he lost the horse...

He had lost everything.

And, miserable, he approached the horse...

Reluctantly strokes his mane, looks into his eyes. Boom!

And kills him.

A drama.

What more passionate than this, Doctor Gulisano, are we looking for?

-Fleas on the cat? -Okay, I'm leaving.

Loredano.

International.

But can you explain to me what this guy did?

But I have the video on YouTube, where I got 3 million views.

Even children listen to my songs.

And this gentleman doesn't understand anything.

I also won a race, €30,000 with my horse.

But where did this guy ever see €30,000? Can you explain that to me?

Sorry, but where is Nino?

And how do I know where he's gone? He left with Saro Scossa.

But what does it have to do with it...

Okay, you do the take, let's not waste time.

Please, camera...

Rolling.

Scene 21, seventh.

20.

Action.

Cristofer, look! I found a worm!

Dad, dad!

Stop!

Excuse me.

When you hear daddy daddy, you have to turn around!

All right! We've done it twenty times, and that's all right!

-Camera. -Rolling.

Scene 21, seventh, 21.

Action.

Cristofer, look, I found a worm!

Dad, dad!

Stop! Excuse me, but can't you hear us? What's wrong with you?

But when you hear the girl you have to turn, turn!

And now I'm turning around... I'm turning too!

To make a scene half a day, but is it even possible? A frame at that.

Camera.

Rolling.

Scene 21, seventh, 22!

Action.

Cristofer, look, I found a worm!

Dad, dad!

[Samir] Guys... [All together] No!

But what are you doing?

[Everyone protests]

Please!

[Gunshot]

Let's do it again.

Camera.

Rolling. [Shaking voice]

Scene 21, seven...

23.

All good people here.

Nobody fights anyone.

All good boys, they love me.

Muto too, Muto good boy.

I am very happy to make films with them.

Good people, indeed.

They asked me to do something very...

Very clean, very elegant.

And that you value above all...

The figure of the woman.

I made a scene that even children can see with their eyes closed.

[Arturo] Did you warn Salvo? [Silvia] Yes, yes, he's coming.

Arrange the light better.

Saro?

Can we put a spot there so we can get a better picture here?

-Oh what are you doing here?? -Here we are preparing a hard scene.

-But what hard scene? -Exactly, what hard scene??

I had to fix the Boss girl scene

-who meets with her boyfriend. -Exactly.

And what does this atmosphere have to do with

it, what this woman dressed like this is doing?

-And then, did you make the scene? -Eh, modestly.

But modestly what?

So far you made me shoot scenes with shitty cinematography

and now that I don't need it, good, you shoot lights like Storaro!

-But thank goodness you called me, go on. -Oh director!

Here I make films of a certain type, do you understand?

This is not the beast movie you're making, which has neither head nor tail.

Oh what are you saying? Oh let's get this straight.

I am the director and you do what I tell you.

So take everything apart and in 5 minutes I want the set as it was written.

-5 minutes! -Hey! But I was warming up.

Well good, I want you like this, you have to

warm up. Stand in front of the door over there.

And don't even let the Lord God in.

-Who is the Lord God? -Oh, I'll explain later, don't worry.

Hard scene, first...

Before.

Oh my!

What are you doing here? Oh go away! This is not a show for children.

Finally a well done scene.

But I say. This video, this film, why didn't they let Iano Fescion do it?

Not to this director who seems like a dead shit.

In the scene we have to do this...

Is this table not ready yet? The actors are coming.

I asked you to hurry up.

-I'm doing it now! -Putting the cutlery...

What are you doing? What are you waiting for?

And what are you doing over there?

Here. The chairs. I asked you to move them.

Don't touch the frame anymore, it's fine as it is.

-Director? -Huh?

It's broken.

It can't be. This too.

Eh not here...

-How do you do it? -If you don't plug the extension cord,

how it's supposed to be turned on?

Enough, go get the cutlery, enough. We won't get there anymore, otherwise.

And Silvana sits down.

Hmm...

All right.

But where is everyone going, oh?

Where did they go?

But which match??

I mean, are we crazy?

Did they leave to watch the game? They left the set...

But why are you always so angry?

-You just need to relax -But what do you do?

-to understand how things are going here. -I understand in the meantime you go away.

-What the... Get up! -You're talking about respect for art,

but have some for mine!

-But what is your art? -But how beautiful you are.

-Beautiful? Let me go... -Give me your life!

What... Silvia, help!

Stop it, don't touch me!

-You're making me the leading actress? -What actress! Help!

-You'll see how good I am, I'm Oscar-worthy! -Stop it, help!

Unfortunately, men who are in charge of something

use their power to humiliate women.

And demand!

Sorry, but I can't do it!

I didn't expect this from the director, he harassed me from day one.

All men are the same.

They're pigs!

Oh enough with this thread!

3 hours ago I told you to fix it, now there's no more time, come on down!

You too!

Camera.

-Rolling! -Scene 24, third, second!

Action.

Father, please.

I believe that the good Lord knows what he has to do.

Stop.

The transition is not good.

This is more in favor of the camera, otherwise the writing cannot be read.

Can you be quiet and step aside while we're filming?

-So why doesn't she step aside? -Because she's filming backstage,

-she's out of frame and knows how to move. -So she's more important than me.

-Okay. Please... -Rolling!

Scene 24, third, second!

Second? This is third. Mark as third. Let's leave it... Action!

Father, please.

I believe that the good Lord knows what he has to do.

-God bless you! -No, no, stop! The envelope isn't visible.

The envelope should be a little higher or it will fall out of the frame!

-Rolling! -Scene 24, third, second!

This is the fourth one! Action!

Father, please.

I believe that the good Lord knows what he has to do.

[Farting noise]

-God bless you. -Thank you, Father.

Stop. Good!

Good! Oh, you see that when we commit

-things are well done? -It's clear, isn't it?

We have to do it again.

But what is he saying? No, good, I saw it, it was perfect.

No, no, no, we have to redo the whole scene.

But why?

And you ask the Mute one, there.

What?

What are you saying? Speak then!

He says he heard a noise, as if to say...

-From the gut, go... -But what does that mean, oh?

We're wasting time here! Either tell me what happened or let's move on, come on.

Director, there was a fart!

-Far... [Iano makes noise with his mouth]

Because the sound engineer claims that...

That a noise was heard that covered his line.

It's not like farts have a signature.

The microphone you have under your jacket says so.

Oh because now you can also smell the stink from the microphone. Come on...

Then we make one good, one, one good...

And it gets ruined, because you hear a fart.

Can you at least let me do another one?

Let's do another one, but first I have to go to the bathroom, please.

-Good, here, good, go shit yourself! -Put the cap on it, okay!

Thank goodness we did shit shit shit...

Oh, exactly, exactly...

I prepared a lot for this role.

I gave it my all. This time I hit the jackpot!

Let's see what else there is to resolve now.

What happened, let's hear.

Ask Prezzavento.

He says I'm a prude who doesn't show my tits or ass.

But leave Prezzavento alone. He's joking, come on!

He's no joke! Don't you get it? This set is a disgrace!

You're only interested in money.

I also admit

that today I'm here more for the money than for the art.

But for a good cause. And if to get that money

you have to eat shit for the greater good, I will do it!

Oh yeah? And what would this greater good be?

Ibla Studios.

And if I don't complete this movie,

people like you, people like me, people like... Will never see the light of day.

Those who dream of making films in their own land will give up,

they won't dream anymore, do you understand?

Dreams can't change things here in Sicily.

Whoever tries, ends badly.

I know this.

But I'll try anyway!

And in fact with what I have available I'm giving my all

to make a movie here anyway and you,

that you are a good actress, you have the chance to prove it, what you are.

To whom? The producer has different ideas about the film.

That's why I want to leave.

And go away. You want to go? Go away!

Like everyone else does! And nothing ever changes here!

Sometimes a line badly written, but well said

can change the fate of a great actor!

A producer maybe

can see this movie and will call you, a famous

director will give you an important role.

If we don't get involved, we will never win!

This film will never be released!

But no.

Here you are wrong, because

Prezzavento told me that he already has a distribution contract,

even with an international company.

Oh yeah? And can you show me this contract? No, because...

I haven't seen mine yet.

Anyway today he said he will make us all sign the contract

or whatever it is... Oh well, leave it alone!

Let's get the job done.

Let's do it right, because a job well done always pays off! Trust me.

Exactly. Well done.

But I say, what do I have to do?

But it is possible that every time there is a question to be solved, people who...

I bet 50€ with Arturo on this ship.

Because in my opinion when two people argue

like that it's obvious where it's going to end.

I'm sure I'll win.

This is one of the most important scenes in the film. Because Silvana is there,

passing information to the policeman.

Please remember, as we rehearsed before, that sense of yours...

Of fear, of anxiety.

You have to convey to the viewer that you are very good.

And you, on the other hand, when you receive information as a policeman, right?

You get that excitement that you're about to do something really important.

But you also have to show a sense of concern, because you know that you are...

You're risking your lives! Both of you.

We're on his close-up, right?

Here? Ok.

-Scene 26, third, fifth. -Action!

[Actress] You know I'm taking a big risk, right?

I have two children, if anything comes to light it's over for me.

[Policeman] Nobody will find out.

My superiors are more corrupt than those who command them.

But I'm doing this thing alone.

And I promise you

that I won't stop until I nail everyone to the bar.

Listen. The cargo usually arrives at one in the morning, with a red Fiorini.

The exchange site is the Fuoco Rosso farmhouse in the Vedova Morta district.

From there the goods are then distributed to the four main areas.

Catania, Messina, Palermo and Enna.

The Boss of the World usually receives the proceeds two days later,

during the meeting held at the Gli Amici degli Amici restaurant.

In Adrano.

If you are able to document all this,

you can hope to address the head of state directly.

I've been waiting for this moment for 5 years.

I promise you, Silvana,

that this risk will not be in vain.

I don't want to know anything more about this story.

I don't even know why I'm here signing my own death warrant.

But I want to believe that there is still hope

for my children and for all those of this tormented land.

Your father will be proud of you.

My father?

My father left us alone to pursue his dream of justice.

He didn't realize he was just a journalist

and even though he reported every discovery

he made to the newspaper or to the police

he would have achieved nothing but his death and the disgrace of our family.

That's all he found out.

Make good use of it.

Goodbye.

And... Stop, good job!

Very good! I mean...

Better than what we rehearsed! Bravo!

-Be careful. -Thanks. That's no good.

Too many people, not enough professionalism.

I have to convince Gulisano to change his tune.

He's the one in charge here, not that dwarf who doesn't count for shit.

He has to assert himself, the film is his!

Prezzavento, where is this contract?

Contract again, contract again!

Look, I haven't signed anything and we can leave at any time.

What did I explain to you?

That the accountant is out at the moment and then I gave you my word.

Yes, but that accountant has been out for a month!

I gave you my word. What's the big deal about all this?

The problem is that scripta manent, verba volant.

Listen, honey, I don't even understand English.

We've been through everything in this set, huh?

Now we're tired, now that's enough.

-Absolutely nothing... -About these choices...

-Absolutely nothing. I... No! -I was talking about sheets of paper...

It doesn't exist. The scene of the child's slaughter,

we said from the beginning that we weren't shooting it.

-Gulisano! -But what messages are we sending?

-To people, to kids? -What's the problem?

-To the young people? -These damn messages, go on!

A film, like a painting, a song,

can influence the thinking of not only a single person,

-but of an entire people! -Oh Turi, we're wasting time here.

This one, after two months of me busting my

ass... What the fuck are you looking at?!

-Get out of here, with this thing! -Then, look.

He wants to send messages, you want to make a good impression with the film.

Do you want to send messages? Send them.

But if the film was written like this, it can't be changed.

Where is the problem? Where is the problem?

It remains like this, it cannot be changed.

-It can certainly change! -Send the message anyway.

No. See what Quentin Tarantino did with Once Upon a Time in Hollywood?

Who the fuck is Quentin Tarantino?

He's someone who changed the ending of his film, he made it alternative

-and it was a success. -But we are not Prestibino.

Turpino.

We are here,

along with a strips written by Enzo Fraccozzo,

to try to complete a film. Let's do something.

-I solved it. -No, it's fine.

Let's do something beautiful.

-We'll shoot them both. -This is beautiful.

The one with the message, the one without the message as the strimpt says,

this way nothing changes

and then we put the one that comes out best in the film.

-Turi, what the fuck are you talking about? -Exactly, but no!

Oh!

When I speak, the voice of the Boss speaks.

Semicolon.

We calm down, we put what comes out best in the film. And that's it.

-Sorry... -Turi, leave this alone.

We shoot them both, as you wish.

But in the end we put mine in the editing.

-Well, we'll see. -Let's put mine!

Whatever the cost, we're saying it now.

-Okay, okay... -Let's put mine.

Send him away from this one, go...

It's a great movie!

If I behave, they give me a real gun.

Camera!

Rolling.

Scene 29,

seventh, third.

And...

Action!

Here is all the evidence to frame them.

Video, environmental interceptions,

documents.

You have to go directly to the President of the Republic.

In Rome. Go!

Your sacrifice will not be forgotten, I promise!

Neither yours nor my father's nor anyone else's

who fought for justice and freedom.

Stay in the car, okay?

[Man] Ah! [Fake gunshot]

Take this thing.

Give it to me.

Mom, mom, mom!

What do we do with the child?

Remember that children

[Mafioso] are the future. [Man] Pam!

[Mafioso] We live on... [Man] Pam! Pam!

[Man] Pam!

Stop!

Good! [Applause]

[Turi] Good?

-Well done! Well done everyone! -Well done.

Oh! Now we have to shoot the second one.

Don't forget it. Now the second one. And for me it's bad.

Oh?

The editing? But it's coming along like crazy.

Anyway I put effects on it, lights...

And all those things there, that the director likes.

Then he works with me very calmly, there's no doubt about it.

There's no one better than me around, he can't find one.

I mean, I'm the best at this.

No offense, I have a computer that could wage war.

Stop, stop! Don't you see that it's stuck?

It's stuck, that's it, there's no point in pressing.

Of course it crashes. Three hours of work wasted.

Why does it blocks? What do you do?

Do you put together 10-second commercials?

Gulisano, Tino! What are these things? Silvia, you are always with us.

-Sure. -Take a rest with this camera, put it down.

-This movie is a pain. -My computer crashed.

But it's not my fault. And we lost the last changes.

Yes, but where are you at?

Well, we're pretty much on our way. We've done 65 minutes of editing...

But are we at a good point? That to make a scene we were there for three hours.

Because we have an incompetent crew,

dog actors, a computer that doesn't work.

Will we make it to the birthday?

-Of course we'll get there. -Then I'm sure that...

But we just can't get there!

I have two great pieces of news.

-Eh I imagine... -Silviuccia, the first one is

our soundtrack.

The great Loredano, whose music Crazy Horse will be the closing...

No way! Still with this Crazy Horse!

And I deliver it directly into your hands, doctor.

How can this guy make the soundtrack if he's never seen the edited version?

But what does it have to do with it? He's an artist too. You're an artist,

Silviuccia with the camera is an artist. He explained to me

that he puts the music ready, so you take the pieces

-and edit the scenes of the movie. -You stop!

-Let's see if with the second news... -Stop!

You might like it.

I'm announcing to you that I just received the phone call.

Our film for the premiere

I will be screened directly, Silvia, at the Portali cinema in Catania!

In the presence of all civil and uncivil authorities, but above all...

-Doctor? -Huh?

The national secretary of Universal Piccion distribution called me,

who will be present,

to negotiate after the screening of the film and bring it directly to America!

-Are you happy now? -Universal Pictures?

Sure, Universal Pictures. Do I look like I'm joking, Silvia?

-I don't think so. -Eh, joy... So let's work

-and that's all it takes. -Stop.

Tonino, help us in these phases.

Ah Prezzavento! The contract! Prezzavento?

Eh, it's unlocked.

Dear friends,

here we are. We are now finishing the opening and closing credits

and then we'll move on to the poster font.

Cinematography...

Cinematography?

Iano... Ehm, Fescion.

Screenplay...

-Screenplay? -Enzo

Fraccozzo or Fracozzo?

Damn, so much...

For what it's worth... [Phone rings]

Ah, my...

Melita's calling you.

-This... This is... -Silvia!

-I bet 50€ on it! -Come on, don't start...

Come on, don't embarrass me.

HI!

-Hi, Silvia! -Hi.

How are you?

-Are you okay? -Good.

Not bad, we're working here...

Eh we're trying to do something for the movie, as always.

And how is it coming?

Well, well. We're almost at the end credits.

But did you see the final cut?

Yes, I saw it. When was the last time we went there?

But... A few days ago, I left the color to Tino,

then we have to insert, as soon as we finish,

the final credits and...

-And it's complete then. -Do you trust him?

-Why? -I don't know. I kind of have the impression that

while you are here, others change your choices.

We actually hadn't thought about this...

But then who, Tino?

Mmm, not just him, I mean... Everyone.

Tino, Fraccozzo, Prezzavento.

Oh well, anyway... You put this flea in my ear, though, come on...

I don't want to think about it. Let's do something.

I'll tell you something in advance, just like that...

Let's remove any doubts, because apparently Prezzavento

signed a contract

of international distribution with Universal Pictures.

Okay? So that takes away all doubt, in theory.

Okay, okay.

Yes, like the contract he signed with you, right?

No, keep...

Excuse me.

Sorry, sorry, I just don't want to ruin...

-No, no, for goodness sake... -Okay, come on, Salvo...

-See you at the premiere. -See you at the premiere.

Bye.

Bye.

Okay, enough, come on...

But how many hours of filming did you do?

Well so far 17 hours and 23 minutes.

-What did you film? -Everything.

Everything...

[Knocking at the door]

Oh I'm coming.

Director, what are you doing here at this hour?

-I want to see the movie again. -What are you talking about?

-Yes, come on, come on. -At this time?

-At this time. -Stop it, it can't be done.

-I want to r... Get up, come on. -You can't watch the movie!

-Why can't I see it? -Because it's rendering.

I don't care, come on, move.

-It can't be done! -But why can't it be done?

Because if we turn off rendering, we won't get there by Saturday.

But I don't care!

-Come on, come on. -It can't be done, director!

-Oh, stop it. -Silence!

No, what the fuck did you do??

-Shut up. -Holy shit, we're already in March.

-But where is Half-a-Kilo? -Half-a-Kilo is sleeping

-in his car under my house. -I have to call...

You don't have to call anyone! Stop and shut up, I want to see the movie again.

-These people are going to kill me. -Shut up!

Where is Melita's close-up?

Prezzavento told me to take it out and leave only the last scene of her.

When she gets killed.

I mean, but I say, how dare you?

Did you remove all her close-ups?

Let's not waste time and get to the point.

Here is the double frame...

Okay, I assembled this one.

This is killing me....

This wasn't there!

This one who shot, who killed the policeman, wasn't there.

And it's the second one.

Stop, because now I want to see the whole ending.

I have to call Prezzavento.

There, I knew it!

You put together the one with the killing of the child!

It's a really... Thank goodness I came, thank goodness I came!

Evil triumphs.

That they're going away... That they won, right?

And then what comes next?

Here! The video of Loredano, from Crazy Horse!

-This must be there... -No, no, I don't care, look.

Universal Pictures said that without his

video clips inside don't make us a contract.

Enough, I don't want to hear anything anymore.

Now I'm going to the Boss and I'll tell him what to do.

-What Boss, forget it! -Let's go to the Boss.

-Leave it alone! -It's a shameful thing!

-I can't accept this. Let's go. -Leave it alone!

Leave the Boss alone.

He wants to talk to the Boss...

♪ You had lost your head ♪ [Loredano sings]

♪ And I'm desperate ♪

[Silvia] I think today will end badly.

♪ I called you ♪

♪ My Pippo ♪

♪ I can't help it, you don't want to stop ♪

♪ Crazy Horse ♪

♪ Come back, damn it ♪

♪ Crazy Horse ♪

♪ This is how we kill ourselves ♪

But what's happening, Prezzavento?

Doctor Gulisano, it happens that you did a good job, I must admit.

And, if it weren't for some artistic nonsense in the editing,

everything would have been fine. But now...

Doctor Gulisano.

This nonsense, from now on,

I consider them resolved, Doctor Gulisano.

-We've finished our problems here. -I mean, it was you.

You are the boss.

It was you from the beginning!

But how... We didn't understand...

-How did I not realize that! -But maybe greed.

Or not? Vanity. Or to put it your way, your way, artist,

the desire to pursue your dreams as an artist.

But what dreams?

How can you talk about dreams? What do you know about dreams, you're a little mafioso

-capricious, what do you know? -Sure,

because we mafiosi can't have dreams, only you artists.

We cannot understand art,

let alone being able to express our point of view on things, no.

Because that's how you good people, you artists, draw us. Like beasts,

-bloodthirsty. -What you are.

Don't even think for a moment that we have morals too.

Moral? But what moral?

What is the moral behind everything you just said?

Behind this film I shot for you. But how do you do it?

I'll tell you where the moral lies, Doctor Gulisano.

I'll explain the moral to you, this time I'll tell you.

The moral is...

That to maintain the order of all things

and the well-being of yours and our families,

we all have to be ready to make sacrifices in life.

Like me, she did them too and you did them too.

After all, you sold your morals for money

and now everyone will compliment you for the film,

to be part of our family and they will respect you.

Not only as artists, but as men.

No, no, no, no! We came here because we don't care anymore,

neither about the film, nor about the money, nor about the contracts.

Now we're going to the police and reporting you all!

In the meantime, let's moderate our terms.

That you speak well because you have two feet in one shoe.

Your family will not miss the roll call in the front row.

Your nephews, who are cute, both blond,

they both look like they came from Sweden.

And also Giacomino, your classmate.

-How dare you? -He came,

poor thing, even though he's sick, at the door. What did he say?

-I'm sick, I'm going to bed... -Oh! Don't touch my family, eh?

Don't touch it!

In the meantime we have to calm down,

because this too is a form of racism.

It's not that you understand that altruism that we have.

We take care of knowing how Silvia's parents are, your relatives...

-This! And what are you doing? You're taking... -Don't touch...

-In bad words! -All right, all right.

Ok. But you have to keep our families out of it.

-I'll come to the screening. -Good.

-But you mustn't touch our families. -Eh.

But the projection...

On one condition.

That is, you have to put it back

the scenes of Melita Rapisarda,

you have to remove those disgusting video clips that I didn't shoot, but above all

you have to replace the child's slaughter, otherwise the film won't be made.

And I don't go anywhere.

I say, does he understand, you understand that you are not in the conditions

to ask and give orders to anyone? Have you seen where you are?

I mean, do you see who's around you?

-So... -So I'll confess something to you.

Silvia, Doctor Gulisano.

Young man, I've never understood a damn thing about cinema...

-We understood that right away. -But you didn't understand one thing.

That respect for people should be given in the work they do

and since everyone has worked well now you enjoy your glory,

your fame, your success and above all...

The good of our family and he friendship of our family for life.

But I don't want any of your friendship. Do you want to understand that or not?

-I want to get rid of everyone! -Oh! You're a pain in the ass!

Why does the Lord get angry? If the Lord gets angry,

there are no prayers that can save you. Do you understand?

No, then maybe you didn't understand

that you will never show the film as it is.

Then you take away this fucking microphone, this fucking camera,

and let's make this idiot understand one thing.

[Silvia] Let go of me! Don't touch me! Let go of me, let go of it!

But...

But do you have all the audio?

Yes, why?

[Coughs]

We are here for the premiere of the film The Boss of the World

with one of the actors who has

covered one of the roles, I think fundamental or important of the

film The Boss of the World. We are here with Giuseppe

and what can you tell us about

these days?

Give us some news. [Audience buzz]

-Hi Silvia, have you seen Salvo by chance? -Hi!

Eh, he must be in the room already.

Is everything okay? You look a little nervous.

Yeah, no, it's just the confusion. See you later.

Okay, see you later. Bye.

[Cheerful music]

How did you manage to recreate 20 years of Sicilian history?

-But are you sure I can talk? -Of course.

Okay, then...

I did it all thanks to meditation,

with the help of my assistant Andrea

and thanks to ka...

Karma.

[Continuous cheerful music]

How much truth is there in this film that you wrote?

Excuse me, miss, but who do you work for?

For the first network news.

But who invited you here?

The production invited us.

So if the production invited you, you should know.

I wrote The Boss of the World and therefore I cannot write

bullshit.

Your character represents the fight against injustice.

Well, do you find yourself in it?

Look, I'll answer you right away without too many mincing words.

What is definitely missing today is character study.

Almost no one ever does that today.

Whereas the Strasberg or Stanislavkij method,

they are the milestones of dramatic art.

Why did the choice of music fall on you?

Look, miss, there was no doubt. They chose the top to make this film.

And then this film, without me, wouldn't have been made at all.

Did you threaten them?

Do you feel threatened?

Then fly away.

[Camera clicks]

They brought you the DCP for screening. Here...

That's not good. There's raw data,

we got a little confused. You have to project this.

Good thing you noticed. I was about to send the projections.

I know, um...

Sorry, there was a bit of confusion. You know, the excitement of the first. But...

I care, this is the right one. You are not wrong.

Ok, easy. I'll set everything up and start the movie.

Okay, thanks. Thank you very much, huh.

[Police sirens]

-Welcome, Commander Torretta. -Thank you for inviting us.

-Welcome. -Thank you for being here with us tonight

for the preview of the film The Boss of the World.

[Applause and cheers]

Let me first of all give a big round of applause

to those who made all this possible, demonstrating once again how much

he cares about our people and our island,

investing in the talents and wonders of our beloved Sicily.

Don Turi Prezzavento!

[Loud applause]

[From the crowd] Bravo!

[From the crowd] Number one!

But who invited the cops here?

-I don't know. -What the fuck do you mean I don't know?

Go and inform yourself, beast.

[Presenter] And thank you again, Don Turi, for all you do for us.

Well, here we are at the end for the introduction of the cast and crew.

And thank you again, Don Turi, for all you do for us.

-It's an honor, a source of pride... -What are you doing here?

Isn't your place with production?

My place is here.

I assure you.

And now, well, here we are.

Let's turn off the lights and have fun with The Boss of the World.

[Applause and cheers]

[Electronic and rhythmic music]

♪ I've already wanted to change my life ♪

♪ wanting to seek success, writing poems ♪

♪ I didn't give up, I always endured ♪

♪ the insult of enemies in this life here ♪

[Turi] Well done, Patroclus.

♪ fame ♪

♪ you arrived when no one believed in you anymore ♪

♪ fame ♪

♪ but no one believed I could do it already ♪

♪ fame ♪

[Turns] Again!

[People's rejoicing]

♪ write a song ♪

♪ and people will scream my name ♪

♪ fame ♪

♪ under the stage shout this song ♪

♪ yes, in your heart, feel these words ♪

[Man] Wait, he's leaving now.

[Man] Did the power go out?

-The power went out? -Do we need to call someone?

Come on, let's go now.

Great, muto!

-Oh! -Sssh, look, look!

My name is Salvo Gulisano and I am a filmmaker living in Sicily.

For many years I have been trying to...

To make a film

with a real production,

with a significant distribution.

I've never succeeded.

Even though I have

I proposed my works to...

To the production houses or

participated in the tenders for

the awarding of a contribution for my works does not...

I have never been able to achieve anything.

Surely due to my artistic shortcomings, maybe...

My works were not worthy

of no one's attention.

I simply didn't have the right friends.

But despite the disappointment I...

I didn't give up.

With tenacity, with stubbornness, throwing one's heart into it

beyond the obstacle to overcome unspeakable difficulties, because...

Because I needed to say

what I have inside, to communicate my message.

But by doing so I got into debt,

without ever getting

a true professional success.

I believed it, I knew that sooner or later

my time would come.

And when this thing happened

I was deluded.

And once again

I got screwed. I got screwed...

By money.

I was made an economic proposal that...

That could have changed my life forever.

And I agreed for the first time to make a film in which

I didn't believe in, with people who...

Ignorant people, who have desecrated every aspect of the film set, because

I was hoping with that money to...

To revive Sicilian cinema.

Instead it was impossible, because...

A little man,

petty,

who thinks he's smarter than the others, he fooled me.

He framed me

with threats, with....

False contracts.

Because what you are about to see today is not a movie.

But that's what...

The only way I have

to apologize

to an art that has always given me so many emotions, that I have never betrayed

and that I don't want to betray now.

This is probably the last time you'll see me in a video, but...

I ask you to...

Observe carefully

the images that follow, because

it's not so much my future that depends on this, but that of...

Of Sicilian cinema.

Of our beloved island.

And the love of art.

And life.

[Man] Iano, did you take it back?

[Indistinct voices protest]

Ssssh!

[Man] Again?

Are we there yet?

Dear friends, we are back in Sicily...

[Male Voice] Attention. This is the Carabinieri Corps speaking to you.

You are surrounded, all exits are blocked.

-Stay seated... -You bastard!

[Crowd protests angry]

[Crowd shouts in protest]

The artists.

The real evil of society.

[Rhythmic music]

The important thing is not to establish whether someone is afraid or not.

It is knowing how to live with your fear and not letting it influence you.

Here, this is courage. Otherwise it is no longer courage, it is recklessness.

♪ My Sicily ♪

♪ how should it be done? ♪

♪ of course I ♪

♪ I have to run away ♪

♪ tell me ♪

♪ what should I do ♪

♪ if really ♪

♪ I have to abandon you ♪

♪ My Sicily ♪

♪ I love you ♪

♪ but I suffer ♪

♪ for your sorrows ♪

♪ help yourself ♪

♪ may God help you ♪

♪ don't give an account ♪

♪ to the one who turns you off ♪

♪ I sing just so you can listen ♪

♪ My Sicily ♪

♪ we have to change ♪

♪ and that's it ♪

♪ with the eaters ♪

♪ My Sicily ♪

♪ I want to play ♪

♪ your virtues ♪

♪ without hiding ♪

♪ My Sicily ♪

♪ don't leave me ♪

♪ with whoever he wants ♪

♪ just sink ♪

♪ Etna and the sea ♪

♪ let them command ♪

♪ History and beauty make them scream ♪

♪ My Sicily ♪

♪ I cry laments ♪

♪ but without you ♪

♪ I am nothing ♪