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1 Well, I'm Vincenzo Alfieri, director and screenwriter

of the film and I'm here with Giuseppe Stasi, co-writer.

Co-writer.

Hi Giuseppe.

Hi Vincenzo.

Are you happy to be here?

A lot, it's a first time I must say.

Maybe the last one because they will disappear Blu-ray.

No come on no.

But not cinema, cinema is comforting.

Well, it's very nice to be able to comment on your own film I must say.

This is a phrase from Noiz Narcos even if we couldn't put it in writing.

But I sing to the song.

To Federica's book.

Of Angels, yes.

Now, seeing this first scene makes me think about when you proposed it to me there

first time telling me, I thought we could

starting with a dead sheep, maybe bullshit.

I said wait, tell me about it for a second.

Do you remember?

Yes yes.

Because there was a whole biblical legacy on the subject, the lost sheep,

the sacrificial lamb, there were a whole series of symbols, even a little obvious

but in short, among other things it was linked to a true story because Federica herself

Angeli told us that the brothers White people had killed,

they had trained, killing a sheep.

In reality, for me this scene was immediately beautiful.

We never touched on the prediction in the script,

it remained almost identical to how you originally wrote it.

I liked it because it represented me, apart from Willy of course, but this flock

which are the peoples, the people, observed by the canes which are the Dell forces

'order, clearly undersized, even a little helpless in the face of what he is facing

happens in front, and this figure of this elderly man who reluctantly in short

interacts with the young intent, to know the facts right on your cell phone,

but he is the only one who noticed that a sheep was actually missing.

And the boy spontaneously searches for her and when he finds her

he realizes what has happened, that she is dead.

Which is kind of what the movie is about, that is, when you are a teenager you don't

think about the consequences of projections, you feel immortal.

We've all felt it, even though we're 40 now and remember what it was like.

Even if it is an order that is imposed, let's say, give...

by those who should be the guarantors of discipline, of order,

which are the parents, the school, the institutions.

Then inevitably we get lost.

But getting lost isn't necessarily a bad thing, but clearly

Outside that fence there is a world unknown to us

precisely it leads us, as in this case, to death.

Here it is.

Certain.

So... And it's Bella because this scene, once

seen and understood, you understood the whole film, let's say.

Yes, there's the theme.

There is the theme of... Oh, the Alka-Seltzer.

This is very important, because this represents a lot of me.

The reflux.

My digestive problems.

My reflux.

We wrote the character about my reflux.

The real marshal didn't have reflux, because if I were to ask...

No, but it's a common problem.

After 30 years it becomes...

Among other things we did Neapolitan, because I'm Neapolitan, in short...

But that's the element that...

Personal.

A bit of a trademark, the brand.

Exact.

I always have to put Neapolitans in my films.

And here is the great Francesco Di Leva, obviously.

Francescone.

Who just took a shower, even if we don't see it, because the truth

marshal had actually done it

shower that night and couldn't sleep.

He went to bed with his wife and asked him where his children were who had gone out that evening.

Yes, because then we are talking about a film anyway

made in 2020, immediately after the post reopenings... Yes.

Post-lockdown, so let's say that going out in the evening was almost a vital necessity.

Here you are.

Exact.

And anyway the point of it all is that their son could have been one of those

involved, he could have been there instead of them.

That is, in fact, the main concern is precisely this.

In short, the moment we look at the tragedy for a moment, it disappears

tragedy, the concern is for one's own child.

Yes.

Also because it is a film, in this sense, multistrand, because we have parents and

children and different parental figures and different, let's say, adolescent figures.

More obviously, in fact, the representatives... the shepherds, that is.

By the way, by the way, one thing I really like about this scene, which is that

what really happened is that the marshal actually lived there

in the barracks above the small square where they killed Willy.

Yes, this... This thing is horrifying.

Yes, yes, yes, exactly.

They are in defiance of the rules, even to justice, these have killed

a boy filmed by cameras under the Carabinieri barracks.

Parking on the driveway pass.

Parking on the driveway pass, that is, truly terrifying stuff.

And here is the first view of... precisely, at the end, among other things, because...

Yes, because here we are at the end, then we go back

and here, oh well, the draft was truly exceptional.

Among other things, in this scene he had difficulty acting, I had to stop

filming because many of the actors, as many know, they are not real actors

but they were taken from the street and were so desperate and in tears

that he told me something like this has never happened to me.

Because I'm used to actors, these are... they are experiencing this scene

so profoundly that I can't act, I need time.

And it was the only time on set that I was too

I was moved and made me want to cry.

Yes, actually.

Because when I saw a pre-assembled one I was very impressed.

The amalgam between Francesco, a man, is incredible

professional actor, and these guys who...

some had actually done nothing, others however did small things,

but it's incredible.

It's all perfectly mixed.

And they are all inside the emotion that...

That is, you don't make a distinction between professional actors or not?

No, you wouldn't.

Perfect.

And then he enters the bar where the Bianchi brothers apparently were spotted then,

Pincarelli and Belleggio, or rather the actors Of the murder.

That this thing is beautiful, he offered coffees.

Oh yes, in fact the strategy adopted by our marshal was great

example of police strategy, let's call it that.

And when I spoke to him he told me, if I came in

with the gun in uniform, there was panic there.

And he told me, I wanted... I come from there, I come like them, from the country,

so I know how they think, I wanted to make him understand that it was a calm situation

to be able to take them safely to the barracks.

That is, he invited them, he didn't bring them.

He invited them, yes.

And they went there too, understand?

Think how smart they are.

In your opinion, objectively, is there anyone stronger than you two?

That provokes them a little.

Yes.

Among other things... And here they come, they are crazy.

Yes.

Among other things, they were taken from the street.

Luca... At the stadium to be precise.

Luca at the stadium, this one with the tattooed neck.

Giordano, the youngest, is a professional boxer.

And Barman, we found in a gym.

Here is the wonderful effect of cinema, because

they are not very tall, but they seem a little big.

They look huge.

No, they're actually a little taller than him, but, well,

higher shoes, lower shoes, you know, footpegs, things.

They seem bigger.

Yes.

It's done.

There is a large borello that has begun to peek behind, nodding its head.

And here's the look, I have to say, this Versace.

Yes, exactly.

A little Versace.

Well, we, I with Cristina The Word, the

costume designer, we were very inspired by the truth.

We saw how they dressed, in ways perhaps even more unlikely than

this, with hair always colored differently, so, let's say...

Then it's not like we made a documentary, it's still inspired, though.

..

But, in short, this is the great idea of ​​the film.

Yes, however, adopt this... That is, that...

Then, among other things, I recently saw L'Odio di

Kassovitz, who in some ways has enormous affinities.

Speaking of the sheep scene for a moment, there is the Sighting scene

of the cow, the wet nurses, by Vincent's character.

But there the structure is more Hollywood, that is, it exists

a staging almost like a Hollywood film.

This approach is different, this is a more...

of France which was renounced by Kassovitz.

It's that of the brothers Dardenne, so more... Maybe.

...neorealist.

We're complimenting ourselves, like this.

No, no, but seeing Hatred, maybe it's probably a movie

who worked so hard inside it that it came out.

Can be.

In some way.

Here, seeing this first image, I think about the heat of that day.

We shot... So that's not a tear but it's sweat.

That actually… yes, exactly.

No, it's a fake tear.

But, lo and behold, this day was terribly hot.

And I think it helped Francesco Chechi,

the actor we see on stage, who plays Maurizio.

Depressed because the girl blocked him.

Because it was true, actually... He also fixed it.

He fixed it.

The real beauty had been fixed by the girl.

He had broken up and he was desperate to find another one.

Or he was desperate to find her again.

Or to find her again.

This is our free interpretation.

So where did you shoot?

This is the Banditaccia in Civitavecchia, an incredible place.

It is one of the largest Etruscan tombs, I believe, of Europe.

I think they shot that scene too

wonderful about where deaf people go on holiday.

I believe it is.

Yes, because I think there were photos there.

Besides, they also feel like... maybe

there is an unconscious reference to that scene.

Could be.

Also because we have written this scene many times.

Probably yes.

Changed several times.

First it initially had to be... it's the Colleferro subsoil.

It was the Colleferro subsoil.

Where the shelters were.

Of the war.

Of the war.

He took them on a tour inside the shelters,

but at a certain point he almost let a veggio die.

The hypogea.

The hypogea.

Yes, yes.

That the phone call came to him.

Instead here...

In fact, precisely because the subsoil of Colleferro is made of pozzolana.

I remember that for a moment we thought that the

Maurizio's nickname should have been Apozzolà.

Yes.

A somewhat Basolinian legacy.

Yes.

And here there is familism.

He works... because his uncle placed him there.

Exact.

Exact.

He is very good.

He's crazy.

He is very good.

What's his name?

Oh what... I remember.

But I have to say that my relationship with him on set was difficult, because

this scene I, like all the scenes in the film,

I wanted it to be as true as possible.

And I think I did 25-26 Chucks.

And he couldn't take it anymore.

He was loud and really hated me that day because he didn't understand all those Chucks.

And why... I really wanted to see... But you can sense that resentment.

More the heat.

Here, this scene you see Enrico Borello, Extraordinary actor, awarded too

during the Rome Festival, in this quarry that Cosimo makes.

Here they did, I'm not joking, almost 50 degrees.

Because we are inside a real quarry Tivoli, outside Tivoli.

And we were - there are people who fainted and felt sick.

But he is an incredible character, because then we will see during the film,

unlike everyone else, as we are

say with you, he shouldn't have had a family.

He is truly without anyone.

And he works, because the real Pincarelli declared that he worked all the time

week, solely and exclusively to be able to get drunk on the weekend.

It is true.

And we see him in this scene completely annihilated.

And he sees it then that the siren sounds.

Exactly, the sound of the siren, the nineteenth-century sound

of the mermaid, as you described in the script.

Twentieth century.

Twentieth century for him, sorry.

It's actually a salvation.

Oh yes, it means that... That he can go and get drunk, in fact.

They did it.

In fact, look now.

Yes, because initially he worked in an arms factory.

Because there is an arms factory there, the Colleferro.

You see, on Saturdays he drinks it, tonight I should find myself on the floor, because for these

people, like Cosimo, many are like that in the countries.

We come from provinces very similar to Colleferro.

For some it is the fundamental thing.

Drinking all weekend and destroying yourself.

Work is just a means to destroy the weekend.

This is the real, I think, this thing about Pincarelli who did not have a driving licence.

This thing was true.

And it was true that Maurizio took it upon himself, he was a slimeball who took on a

everyone, in Paliano, in Artena, to find the passages.

In reality this is our poetic science.

In reality that day they went in separate cars.

But this scene... Yes, it's true.

This scene is a lot Beautiful because it sects a lot

their characters and see this relationship...

That is, there is the means of luck.

Exact.

Then he also gave you this thing that he does at a certain point now.

Because clearly there is a relationship of mutual dependence.

One cannot do without the other.

It's a toxic relationship.

The one to feel like a leader in some way,

the other to delude himself into being a leader tomorrow.

Exact.

But also because it belongs to someone.

Because Maurizio dreams of being... A character of suns, basically.

Totally alone.

And I always say it.

Many who have seen the film think that i

protagonists are the bad protagonists, the Whites.

Then let's be good Willy.

In my opinion the two of them are truly shades of

much more despicable evils than Whites in some ways.

Because Whites are straighter, you understand them.

Characters like them are devious and conniving.

Yes, but they agree.

They are clearly scarier.

They scare me more because I don't know how to record them.

This thing about the little boy on the bicycle, the inspiration came to us

while we interviewed Willy's friends a Paliano.

I don't know if you remember.

Certain.

There was this little boy hanging around the Fountain.

We sat on a bench for two hours and...

this kid did nothing but shoot for two hours.

There was nothing, a breath of wind, nothing.

There was a lady looking out the window.

Like here for king.

And this little boy was going around, going around, it was spinning.

And at a certain point he asked us if...

Did we want a ticket?

A lottery ticket.

Paliano lottery.

By Paliano.

And you said, I don't believe in luck.

And he looked at you and said, do you remember it?

Maybe luck can believe in me.

Exact.

I mean, I think of such a small bored child who told a great truth.

But it sold me very well.

It sold me very well.

But I didn't buy that ticket.

It's because you're an asshole.

Oh, I know.

But this one, tell me, was obviously alcoholic?

Or was it water?

What was it?

No, this is a real beer because I wanted him... A small town.

This one is from Molaus.

Yes, I wanted him to feel like he was the part.

This scene is incredible.

We can say this.

And here is the first seed towards the madness that will happen in the film, right?

Because... There's something erotic about this pat here.

But actually in the film, if you think about it, there is in

many characters have a somewhat erotic relationship.

Yes, but not related to... No, no, no.

I don't see it as a sexual thing.

No, she's tied up...

That we males have a lot of relationships, on some occasions, or some us,

very crypto-homosexuals, you know what I mean?

Yes.

We are tied to dependencies between us sometimes that...

Which we don't pay attention to, but which are evident.

Certain.

Hague!

They are fantastic here.

Yes.

And here is, Maurizio, his aspiration to be part of the White group.

Did they kick him out?

No, what do they have... Yes, no.

I want to make you My way, understand?

Remember, I cut here.

Yes, yes.

In fact he was always talking bullshit in the movie about how he broke his arm.

Everyone said something different.

It is true.

Like Batman's Joker.

But then we cut it due to time constraints.

In the first draft there was even... the way in which...

Yes.

He breaks his arm.

While training the kids in the gym.

No, it was a... Karate competition.

No, it wasn't a vertical climbing competition.

It was a vertical climbing competition.

Yes, yes, yes.

Because the real Maurizio was also a karate instructor.

Here, okay, we don't see the twins because, let's say, the film, as we told us

many times, it is not a violent film but it is a film about violence.

And today to talk about the violence, in a company absolutely dedicated to

pornography, of violence, anesthetized due to social violence,

we decided never to let it be seen but to let it be heard.

So the twins come in here and not... you understand what they are about to do but you don't see it.

The poor man is a bit of a village idiot Maurice.

Yes, let's say, he is constantly harassed by everyone.

That graffiti was already there, but you did it.

We did it.

You did it.

And here he is observing a friendship different from his.

A different friendship.

An accomplice friendship that he dreams of but cannot have.

In some ways it is a first piece that makes yes

that maybe this poor Willy was already hated.

Well yes.

That meeting with... With Michelle.

With Michelle.

Well, shotgun actress, extraordinary actress.

Truly a girl of unique acting quality.

Here, humanly.

Yes.

I've seen her a few times.

No, I have to say, I was very lucky with the cast.

Truly all incredible.

But we chose female names, I have to say, questionable.

Interesting, yes.

Oh well, but look, they are current, eh.

Luana, Michelle... Rossella, come on, Rossella is here to normalize things.

Which is My sister and your mom.

The reason we gave this name.

This scene that I care about...

Because it represents the...

Toxicity.

Which we talk about males every now and then.

It was a point of argument on set.

But quarrel, good, in the sense of discussions with the producer.

Because he didn't understand all these tight plans.

It's Francesco who says...

No, no, the producer, Roberto Bravo.

Oh, okay.

He didn't understand why I had to stay so close to the actors.

And yet the audience, in this scene, manages to understand

really what's behind Maurizio's eyes.

Behind Luana's eyes.

This touching.

This detail their looks.

Their mouths.

Their microimperfections.

But also physical imperfections.

All this makes them human.

And you can understand what is happening.

Without even needing too many words.

If I turned off the sound right now.

Let's see the scene.

It would work.

It's already a bit like that.

Because we are talking above.

So I'm focusing on the details a little bit.

On the images.

I mean, in fact, it gets to you...

Exactly this kind of... relationship.

Just as you are describing.

It's a bit like fatal attraction in reverse.

A bit of fatal attraction.

Then I mounted.

I am the editor of the film.

For those who don't know.

This montage.

Even so.

Frantic.

Sometimes unpacked.

On the same axis.

Because I'm a Soderbergh fan.

And some montages.

Let's say so.

Incongruous.

If we want to find an end.

Because I'm 25 years old.

And the count is 1,150.

Because if it's boring.

If it is listened to.

If it's fixative.

If he wants some shitty slime.

The folds.

The wrinkles.

The face.

Yes.

These thrills.

Him, yes.

It's a gift to give to an actor.

Minimal facial landslides.

Well, you really appreciate his work.

Let him observe it from the inside.

And I must say, accompanied by this great breakfast.

But, I, I have never heard a sound of Alessandro Bencini.

Because now it starts...

the opening of the piece that makes me fly with him on a bicycle.

Very nice.

This scene is gorgeous.

Among other things, think that this was the audition that Alessandro Bencini gave me.

When I asked him...

I mean, give me an audition.

We understand how the music age of the film can be.

AND...

We talked a lot.

Because he couldn't find a key.

At a certain point he told me about some of his personal things.

Very personal.

In short, a bad thing that had happened to him.

And I said to him... Okay, why don't you rewrite the piece with that in mind.

But also talking about you.

That Alessandro is also a very hopeful person.

Despite personal tragedies.

He's a really positive guy.

So I told him...

Why don't you write a piece that has the drama of positivity within it.

And he came up with this piece.

Indications that have borne fruit.

At that time...

Uncle Flavio called me.

Then there is this figure of fathers who are a bit absent.

Aside from Di Leva's character, who in any case is also a father.

Which are absent or completely useless in this film.

But if you think about it, we've written a nice balance on this too.

That you have Di Leva and chef Tokai.

Who is a father figure.

Which are very present.

However, Maurizio's father is visually absent.

And the twins' father is physically absent.

Mentally.

I really like that cuisine.

It's very true.

Even the door... I wanted it all to be very real.

The set designer Elisabetta Zanini did a truly extraordinary job.

It all seems so tangible and concrete.

These are cuisines that we've all seen a bit.

This scene is truly terrible.

Because think of a mother who says...

We are not intelligent people.

Smart but not smart.

Yet we made you as if you were the son of cousins.

There's this phrase that says...

Oh well, then there is a relationship with animals.

We want to say this I think.

In the film there is a great relationship with nature.

Nature...

Because with irons the thing that impressed us as soon as we went to see it.

It was that you arrive.

In this valley.

Also beautiful.

Here is a great quote about Gheghi's right arm.

Wendy?

No the right arm.

Ah no once upon a time in America.

They are three shots that once existed in America.

Yes yes.

And so in the film there is the relationship between man and nature.

Between industry and nature.

Yes it's true.

Between animals and man.

The thing that fascinated us most is precisely that.

The rural aspect and the industrial aspect.

Because in Italy industry has never developed in the big centers.

Apart from Turin, Milan.

But in those few centers where it developed beyond the northern band.

Yes.

They are rural centers.

Yes.

Or seafarers.

See Taranto.

In short, where you have the ilva on the sea.

Something truly unusual.

This thing that puts on makeup makes me fly.

Because it reminds you of Joker maybe not?

Because I remember.

No well yes.

Look at Jack Nicholson putting on make-up in the bathroom.

A bit like Jack Nicholson wearing make-up in the first beat.

In 1989 by Tim Burton.

I noticed you making an expression.

He moves his mouth exactly when he puts makeup on Nicholson.

Exact.

No, okay but then it's nice because a woman criticizes him for vitiligo.

He wears makeup to cover it.

Certain.

And this also has a fundamental element of

this terrible evening that is about to happen.

I really like this whole scene resolved in this shot.

Fantastic.

This is the classic budget problem thing.

Oh well, as always happens.

The more they take away from you, the more you are forced to work hard and find creative solutions.

I didn't know how to do it and in the end I said I was inspired by our dear Elephant.

Rightly.

Because we were inspired by Elephant for the chapter construction and I...

In Elephant there is the first car scene and you see everything offstage.

The inspiration to Elephant.

It is true.

That great incipit.

Yes, it's crazy.

Well, we were on set.

This day you came to the set, yes.

He's still on set that night.

And he's going to the twins whose faces we haven't seen yet.

And here is the misunderstanding because we see that

he tells him okay I'll go and see if you can come in.

And Maurizio trembling... Exclusivity.

Exact.

He hopes to be able to enter.

Then at the end of the film we will discover the double side of this scene.

It seems like they actually accepted it.

It seems they accepted it, then we understand, let's not spoil.

Then we understand, let's not spoil.

And in fact he says...

That is, from the crazy close-ups Borello, I must say.

Yes.

He is at ease in these extreme close-ups

Borello, that is, it fits like a fish in water.

Yes.

Please tell me who improvised this one, as zompi as the grill it's his.

This also has the keys that you make in the absolutely improvised sketch.

This disco scene where I don't know how many extras the audience imagines when they see it.

This is the smallest nightclub we managed

to find because we didn't have the money for extras.

So in proportion it seemed huge.

And there are 80 people inside.

All right, come on.

And outside, the problem was outside, I was crazy

because I didn't have any extras to take out the place.

Outside the club there are 15 people who exchanged places.

They seem more come on.

They seem more.

This is the magic of cinema.

Yes, they seem more.

I must say that rear projections help a lot.

That was a great Dell idea 'Elisabetta Zanini because not having the

money for the scenography said rear projections.

And so with artificial intelligence we created

This video content is not covered by copyright.

Interesting, yes.

Because he always has this wonderful tic of... As if he were dirty.

Very nice.

That is a great idea of Francesco's, I have to say.

Great actor in this too.

Very methodical.

I would only like to see a film about Borello who plays this character in Eterno.

But Borello is sinister.

Also because we have to be honest, the character we hadn't written c

'it is, but he made it come out a lot more.

No, it's become something else.

Yes, definitely.

Another actor would have made him a much less interesting character than this one.

Yes, three-dimensional.

Yes, layered.

He and I talked a lot about how to speak, how to move, how to dress.

We did a great job together, I have to say.

Then among other things he brings out a background that is never said

explicitly, but everyone rebuilds themselves and it is always tragic.

That is, you can't imagine anything.

It's really beautiful behind this character.

It's a devastating family situation.

Not only that, it is in fact... listen...

Never let anyone say you don't know anyone.

He seems like a character who has done analysis.

He seems like a character who has undergone analysis, he is a character

positive that he is giving him perfect advice.

But it is precisely because of this advice that everything is happening now.

Yes.

Which is the inevitability.

Which is advice that in some cases he misrepresents.

Because in any case it is advice that clearly gives...

Certain.

From mutual help precisely from Oda, from a listening group, from a therapy group etc.

But completely misrepresented by Maurizio.

Totally.

Which now interprets his cultural background.

Between you and now we see him washing there

vitiligence, let's say the trick for vitiligence.

And he wants to be himself.

And he wants to be himself, yes.

Look how beautiful the phosphorescent comes out with this light.

Andrea's idea Ritano, the director of

photography, told me why don't we do... Luminol.

The bathroom with light... Nice.

What is his name?

Light...

Florescent.

Florescent I think, yes.

Or luminol.

By the way, this tent is also like this, which is exactly what it is

the type of tent used in factories.

There is a feeling that people never get out of their routine.

Certain.

So even when you go dancing, go to

have fun, that too becomes a routine.

Becomes...

it becomes an obsessive repetition of a ritual.

And here is Cosimo's big bullshit, no?

Del Biancarelli.

Of the little girl.

This sentence.

The catcalling.

Then if you think about it...

The catcalling.

Which is dogcalling here.

That whistles at a certain point.

Then they tell him that he has to call the dog.

Which if you think about it, it's incredible that it all happened because someone told someone

Bella girl, the real Michelle declared, I didn't give a damn.

..

To which girl?

Exact.

This thing was annoying.

Let's say... It was annoying in the sense that an idiot said.

It wasn't the catcalling itself, was the male reaction to catcalling

which was precisely a way to mark the territory and the

possessiveness over a girl, of another among other things.

Well we'll see this later.

We'll see it later.

This is a huge moment.

This is a great moment that we had outlined in the script.

Scene rewritten in preparation.

Then me with the girls, not all of whom are professional actresses.

We sat down, I'm not just a woman, I said guys

you girls have to help me, it's Michelle's farewell.

What would you do?

I had this memory of my best friend from Caserta who gave me one

shell that he had in his heart for a series of reasons.

Let's treat ourselves to things, right?

And so... Yes they give her some things to take on the trip.

That is, you understand without it ever being made explicit.

Their relationship.

Not only that.

Not only that, but in short she is making it clear that she is about to leave, so they give her a gift

what... in fact this was the indesco, the condoms.

That's right, condoms.

And that brought us to the revelation, yes I am

girlfriend, yes, but the more you accuse him, the more you break up.

Yes.

And this thing where they inflate it is beautiful.

But this complicity of theirs is beautiful, that is, the fact, here's what I say,

this is not an acting film, it's a truly great performer's film,

I don't know how to define why...

Yes.

This truth that exists between them, built in the months of testing etc. for

charity, but you feel the friendship without saying anything like you said.

And even here somehow, even in this scene, I mean I like that every

character in the film is pushed by his friends to do

of things that will then be the problem in some way.

Because in this case they are turning it against Christian.

Yes.

And this thing as we will see shortly...

It's the domino we tried to put in place.

To the magnolia we say...

And here was the...

This song is beautiful by the way Night, I imagined while I listened

the song this shot, and here we had ass because if you see

the camera remains on delay, I told her what moods she was in

he was trying and you can see right in his eyes change with happiness...

Because you didn't slow it down.

Yes I did it in slow motion, 50 frames.

But look at how his expression changes, look at how he is thinking

about her loneliness, about what must now happen with Christian.

See how the water feels differently.

And then now he lets himself go and...

it becomes the noise of a motorbike and we don't know what it is.

This car that goes up here you get married or you take drugs, a phrase that was there among other things

in Caserta where I lived and which I found.

There are various versions, that is, either you get married or you die, or you take drugs or you die.

Yes.

In the province I thought... I'm from Matera, I've never read it anywhere.

And well where I come from it's more... Yes there they are a little more... It's sadder.

But for sure they are more active, you see, in Matera we abandoned ourselves.

Yes.

The factory is, as we said at the beginning, a very important element of this

history because the real Colleferro is built around the factory.

Obviously the film, I repeat, is not a documentary, it is not Colleferro,

but the concept is the same, that is, you even go there to eat pizza.

As a panorama for Christian, because...

The park.

Because it takes away the scab.

Oh yes, because it's always these... in short, it's a bit of a seed for theirs

relationship, they also have a somewhat unhealthy relationship because...

The other movie I saw recently, which was then interpreted as a

poster against chauvinism, It's Rosemary's Baby.

Oh wonderful.

That is, everything Cassavetes does with Mia

Farro is totally chauvinist in that film.

Certain.

Who finishes reading the book about Satanists and even throws it away,

forces her to take drugs, that is...

And while rewatching Rosemary's Baby I was reminded of this scene, so here's how I

films work inside you, in some way...

But it is impossible not to mention films involuntarily, we have them

seen too many not to be influenced by them, understand?

Here is the pronunciation of Pantheon Sorbonne.

Which is fantastic.

That someone even told you how it is possible that she,

a girl like that from Colleferro, go and dream of the Sorbonne.

Yes yes, a few people have criticized this to me, as if you are one

small province, you can't dream big.

Well I know people who spoke worse than her when she joined Bocconi.

So...

Erm... But the Sorbonne...

It makes her feel like an idiot.

He is very good.

But this... Yes yes, crazy, crazy.

And here is the beautiful live

recent sound of the Pantheon siren.

We have... Which you kept, that is, you wanted to shoot...

We held and with Thomas Georgi, the sound designer

of the film, we repeated it often in the film.

But sometimes it's almost subliminal.

Yes yes yes.

Because we put it in the background.

Oh yes, here is the reversal.

Maybe you have to tell me just like that.

There is.

There is.

Yes, because he accuses her of being free and she is

he's accusing you of being the classic alpha male.

She's good here.

An unaware chauvinist one might say today.

But she's very good.

That here you don't have to be afraid, De Moris is already dead!

Wonderful phrases.

Stunning.

Manifesto for life in the province.

A slogan.

Also a slogan for girls.

But it's true that we're leaving, that's it.

Well yes.

But we all left.

And here we understand, we understand everything.

We already understand a piece of the story here eh.

Oh yes, we already have two very important elements.

What inspired Michelle to be there?

And what is he experiencing?

What pushed Maurizio to be there and what is he experiencing?

And above all Christian.

Because the real, let's say, weak link in the film is Christian himself.

And his jealousy towards her of Michelle.

Because when they brought us this story, Giuse, the thing that we have

truly then impressed and convinced it was not a

film about a boy who gets killed, but...

a story about a girl that one tells Bella and her boyfriend comes back

back and causes a mess that leads to the death of a boy.

I'm seeing this moment annoyed even by the greetings.

That is, she who greets other friends.

And obviously what is she doing?

He says okay, you're breaking my balls and I'll be you

I show that I'm calm without you.

I have nothing more to say to you.

I dance with whoever I want.

So his jealousy is getting even worse.

That is, in some way they are both teasing each other.

Both are hurting themselves.

Even if they don't want to because maybe they really love each other.

Yes clearly it's a problem that could be solved

immediately afterwards but in reality it doesn't resolve itself because...

The absurd thing is that it affects third parties.

It resolves when he gets hit.

And this is a beautiful thing.

See also the friend who says you can do whatever you want for me.

But what does it mean?

It's obvious that you can do whatever you want to do.

Why are you saying that?

Exact.

He is very good.

I love it.

I love everyone.

But I liked dying in this scene.

Manuel Venanzi.

Excellent.

I play football there.

Oh, I actually know.

I discovered it that evening I came to the set.

Control yourself.

Beautiful.

Talk to control yourself.

And here we return to the previous scene we have...

It's beautiful here.

This is brilliant.

This is very Trampian, the denial of the truth, the denial of the evidence,

right up to the end even the public has doubts that what happened has happened

like Cosimo or Maurizio, so good Cosimo who in the end says but yes it was

Maurizio to do it, because all the events with the

I bong him and Cosimo paradoxically comes out clean.

You know what you said that now, paradoxically, going back,

perhaps in the previous chapter I would have cut what can be seen

Borello whistling, so he was even more thrown into jail.

But it's too beautiful like this.

No, no, that's nice, but I say that even more so

you were asking who did it, and well the voice is clearly his.

No, clearly, of course.

Well, I didn't like it.

And here's what you stated, a

It didn't bother me, what should I do?

He uses that is the gun thermometer to ask for the gun, it's crazy.

This thing, yes, and he does me, him on the set

every time in Borello he tells me Defend from what?

He did some shit, no okay, he did some shit, he said

very cool, beautiful, and every time he told me, really Vince, are you sure?

But usually directors tell me cut, no go, go, go.

It's every actor's dream.

Yes, I liked him too much, he amuses me too much.

Cut this cigarette, what do you call them?

What do you have to do?

You.

he says to Bella.

And here immediately comes the change of direction.

And here is a piece of shit.

There's the man who told him, don't ever let anyone tell you that you're nobody,

now he sees the mess and leaves.

But this is a truth.

It's a reason for what will later be clarified in the chapter on twins,

that is, this is our scapegoat, our sacrificial lamb, everything adds up.

Exact.

Look what the fuck did you do, what do you think I didn't see you?

You watched everything and you know he did the whole short track.

What the fuck are you talking about?

What the fuck are you talking about?

And here's the load of ten.

Because he sees his ex with someone else.

This thing makes it trigger.

As today's young people would say.

Oh yes, I'm triggered.

Of course, there is the period in which Cristian insists a lot.

It always makes me laugh here.

See you told him everything.

And this is where the bullshit happens.

And it's this moment.

There's no going back.

Oh you see, here it goes back to the side of Christian.

It's crazy.

Here you become Cristian's girlfriend again.

Yes, yes.

This is all born from...

when we read the trial documents, we looked at a

early day and let's say what happened in that Metro?

That there are several hours of hole.

No, also because whoever we interviewed, when we said yes,

okay, but when they argued, this girl, what did they say to each other?

What did they do?

All on a silent scene.

Because it's obvious, the classic dynamic was triggered... Of lynching.

We had to tell it, because clearly it was two against twenty.

Yes, of course.

Which then becomes thirty, then becomes forty.

Exact.

It is very nice that this is created here...

this clash with friends.

Yes.

Now, this thing you're about to see...

The question of misrepresentation, the points of view.

This is the one that sent you to the hospital.

This one sent me to the hospital, because I did a lot of the filming myself.

This thing you're seeing, I follow him with a hand-held camera,

and I'm running after him.

It is renamed the Alfieri Cambo.

Alfieri Cambo, because...

I completely relieved the car of any frills, only the

body, camera and lens, and it will seem like bullshit to you,

but this asshole ran fast, and I ran with him, once, twice,

three times, four times, but the sixth time it came out.

The next day I ended up in the hospital, because my vertebra got stuck.

But if you don't end up in hospital for every film...

Oh well, but previously I had run out because I had had congestion.

Oh well, but... On the worst because we had... It's a garden tick.

Let's say I'm unlucky.

Well, but in my opinion it's a bit of a baptism of fire for every film.

No, fuck you, no.

What the fuck.

But in my opinion it also determines a little success.

I scratch myself.

Scratch yourself.

Thank you.

I'm really out of breath, which I think you did too.

We were all dying here, let's say.

We were all dying.

We were a massacre.

How wonderful you say it, I lost my keys.

I missed it.

But what did I miss?

Among other things, when we were doing it I lost it, they were all laughing at me.

To start something you imagine them breaking into it.

Yes, yes, to start.

They don't understand the wires.

No, but because I have to say, it's a phrase that will seem strange in a film like this,

but it was one of the funniest films I've made.

No, for that world no, no.

Consistent, sure.

In the sense that, that is, this stuff is also fun to do, to hear recited, that is.

Actually, Borello didn't give a damn, he had become

him, so you even enjoyed hearing it.

She is desperate for the boy.

Yes.

But desperate because she understands how Willy will understand later the consequences of the actions of

Cristian, he doesn't want anyone to get hurt, because

This is a situation that escalates in an instant, right?

These guys you see around, like this one who is screaming at him,

they are all people taken from the street, huh?

They are not actors.

I gave him auditions, not even professional extras.

This hand to hand or were you... All hand.

All hand.

Or with Ziggy.

By hand and with Ziggy.

Okay.

Because I wanted this raw thing, documentary.

Which is the one also used in The Studio.

Which is also used in The Studio, yes.

Here is another, let's say, another type of movement, more neurotic, more frenetic.

I'm also a fan of Diamonds in the rough and that film inspired me a lot for these scenes.

But in general for the film, because this is also a film where, well, they happen.

This always makes me laugh.

Good, thanks.

Yes, yes.

But why does his character... I mean, good, thanks.

He, understood, fight.

No, but in front of everyone.

In front of everyone.

He just told them, this is a dick, then turns to him and says,

well done, you did well.

Yes, yes.

And this falls for it.

But exactly that.

I mean, we'll probably never know how that evening really went.

No, no, no.

That is, we partially know.

I think it's very realistic.

No, but it's absolutely believable.

But I already remember when we were writing it that there was a whole

series of elements, precisely, like a wireless phone.

That is, as he gives a communication, that

communication in transmission is altered.

There are ten people who can mention it to him, there are twenty people who can mention it to him

he can name, he says there are fifty, there are thirty, fifty.

I mean, clearly as you communicate something...

This is why I fundamentally believe that the work of the novelist,

of those who deal with fantasy, be a little...

for everyone's benefit.

That is, we all like to reinvent reality, to make it more compelling.

Clearly fifty people who are about to mention you are not ten.

It's more impactful than fifty.

Great photo.

And here.

This is also a true, incredible story.

Yes, that they were having sex in the cemetery with other women.

In reality in the true story there were four with two women.

Yes.

And we wanted to keep the two brothers, now let's talk about it.

I don't remember why...

He's watching his knee surgery because he... Oh, sure, sure.

He was a great MMA fighter, before the movie.

At some point it broke.

It broke and...

And so, and this has always been another element of three-dimensionality.

We wanted all the characters to be three-dimensional.

The gem of the ghost, I must say.

You like it, huh?

Lots of stuff.

Oh, I know, this...

An idea that came to me on set, seeing the ghosts of the real actor.

Do you get there a little?

Handsome.

Also because it looked very good with the gold and green.

And we wanted to basically build a very relationship

erotic, very morbid, but at the same time of two big children living together,

they get dressed together, shower together, do their hair together.

And they wake up, part of their routine, which they are

physical training, painkillers, for Lorenzo.

Then fix your hair, right?

The dye... It's very tender.

The scene is very tender.

The scene of...

Oh well... My aesthetic inspiration here is clearly Garonian, in the sense that I

I love royalty... The Greek on the shorts, very beautiful.

We didn't have the money or permission to do...

Who is?

The Versace one?

Things?

Those... I remember.

And so we did the little piece, as they said in my parties.

Okay, but now it's more... A famous piece.

Certain.

This is a great scene.

This is a beautiful scene, yes.

Well, a spin-off would be wonderful about them too.

The prequel.

The prequel.

White Brothers Baggins.

But this is something that I... I mean, It also takes me back to my childhood a bit,

which wasn't so much the shower as when we were little.

I don't know if... You have a sister, he's not a brother.

At least with my brother, when we were very

little ones, we both wanted to pee.

We peed together in the same cup.

Oh, sure.

Which was a classic.

I used to do it with some of my friends, like this.

As long as you're little you can do it, because you are small.

Well, when he grew up he didn't change much in terms of shape and size, then.

..

No, in fact.

We can do it even now.

This idea of MotoGP, let's face it... Eh, this is Giancarlo Fontana's idea.

By Giancarlo Fontana.

Your director buddy with whom you make your films.

What did he tell us, do you know that in September of that year there was this very serious accident?

He was going to stay there.

Valentino Rossi stood for a thousandth of a second

to stay there and he said, I think it's thematic.

And it's actually very thematic.

The inevitability of things, how sometimes there is death

so close, as in the case of Valentino Rossi, but he comes close.

In Willy's case, however, he tells us.

He found it, that's it.

The actor who plays the father is not an actor.

He has a workshop.

Alright.

The casting directors Federica Baglioni, Marco Donat Catteni and their assistant

They found Simone Marino while walking down the street doing street casting.

He has an incredible face and voice.

And what about her?

She is, no, Carmen Pommella.

A great theater actress, cinema actress, who however...

Tattoos aren't his, obviously.

We didn't do any tattoos again.

I have to say, Lucia Patullo, the make-up artist, he did a great job.

They obviously look real.

Fantastic.

The guys' tattoos are real.

Actually about him, about Luca, this bigger one

viola, we had to cover a lot of tattoos.

Yes, due to copyright issues.

His leg is completely tattooed with Disney characters.

So you see this 1.86m man.

Who can be more harmful than the real Whites, the Disney ones.

I mean, they can hurt you worse, maybe, sometimes.

Exact.

At least their legal department is very aggressive.

Exact.

This bubbling sauce is truly...

So, boiling sauce for me is something that boils, right?

That's what's happening.

No, but apart from always giving realism.

As well as the green bean sauce.

But then inspiration came to me from Bad Guy, from the boiling milk.

Ah, but think, you see.

That thing made me say...

Interesting something that boils.

It makes me think...

Yes, the milk curdles right there, at some point.

At a certain point he became what... when it makes that wonderful patina on top.

Here, for example, is something the public can notice now.

Here you go.

You see that the camera moved because it hit the operator.

And on set, the director of photography and the operator said to me, we have to do it again.

And I said, why?

Because it hit the operator.

It shows in the speed.

Ah, beautiful.

I said, I don't care.

In fact, it is a documentary.

Indeed, even... Anything can happen.

It's nice to emphasize it with a sound, almost.

Just like the presence of the camera colliding, that is... Yes, yes.

It's beautiful, it's beautiful.

I wanted this, I wanted this.

But in my opinion this is somewhat of the strength of this film.

In fact, however, despite the terrible facts that they told me,

there is never a high external gaze, superior to the facts.

You are inside the facts.

So you're with those characters and it's not there

a different point of view from those characters there.

And this is the real strength of this film.

If you're like that inside, you never make a judgment.

Exact.

Which is what, fortunately, they all recognized us.

They recognized that this is not a film that judges, it is a film that photographs.

And I wanted to say, I'm very happy with the shot

that I did, the one you just saw, from behind.

On vegetables, yes.

On vegetables.

Why?

Because it tells you two things at the same time.

One, what kind of work do they do, they sell fruit and vegetables without having to make a scene

explain them, without having to go to a store.

Therefore also saving on the budget.

And two, it's really one Nice shot, because you

it also tells where they come from and go to the city.

We scratched the car on the bed of the pickup,

which is a very large, very beautiful Ford Raptor.

And here is a meeting with Willy, a little as Maurizio observed it, from the glass.

Here they even touch each other.

We really liked this thing, no?

Do you remember the script?

We wanted them to touch each other for a moment, that in

somehow here they all know each other and touch each other.

And so it could happen to anyone.

There is Covid, we remember, with the terrible mask.

Post-Covid, in short, the September after Covid.

And here we go to the punches.

The ones you like to shoot so much.

When you see subjective shots, like this one, do you see?

This here is the operator who got beaten up.

Because we put some... Alessandro Gentili.

Alessandro Gentili, great operator.

The room is same.

He asked, I want the truth, I want the public to feel the blows.

And so it was a concert effort.

Between him getting beaten up in the car.

In fact, you see, the car moves and they massacred him, right?

Because they kicked him and punched him

on the hands that held the camera.

So he would take some sviece, he had all purple hands at the end of the scene.

Working in concert with Thomas George, sound designer.

I said before that he did a great job of sound design here, of the sound.

It's crazy.

Feel the leather of the helmets rubbing.

Feel the bones being hit.

Because I didn't want that American action movie stuff, the good shots.

This is what you hear, the foley artist, who is the one who records

the live sounds, he really took a beating.

He made them as real as possible.

And here the brother thinks that it is already among them how shitty they are.

The brother who uses his broken knee to hurt him and win

this... which isn't even a race, it's training, make sure.

Here we meet Rossella, his future wife and mother of his son.

Unaware?

Maybe yes, maybe no, we don't know.

Who knows, there won't be a mystery.

And here he appears almost tender, no?

But how can you measure it without measuring it?

But how do you know these things?

That is, in the sense, how can you measure it without measuring it?

It's an estimate Lorenzo, it's not an absolute figure.

Oh well, he's fine though.

Yes, yes, he's fine, don't worry.

Look how good he is.

It looks like a puppy.

You would never know what it is.

It's an estimate.

It's an estimate.

Look what he's doing, dude.

This is all his stuff.

Yes, yes.

Someone who has never been an actor in his life.

And here, no, they tell her they're going to get a drink.

Let's see, so to speak, the B side of the scene seen before with Maurizio and Cosimo.

That is, their entry into the arcade bar.

That belly is very beautiful.

It's fake, of course.

Very beautiful, very beautiful.

I have to say it's very well done.

And here we wanted to build this double soul, right?

A girl singing unaware in the car while the unheard of violence outside.

And as far as I'm concerned, Giuse, when we wrote this scene,

I remembered Boris when he said Italy is about ballet, right?

These jingles while there is death outside.

These jingles while there is death outside.

For me it was the reference of this scene.

Yes, more than the jingles it is the Latin American who has taken possession.

Which has taken possession of our summer states.

Yes, at least once upon a time we had Peppino Di Capri that you put first.

In that bargaining is beautiful because that is the bargaining of the elderly who

they dance to Peppino Di Capri which among other things was a Benny King cover.

No, but then you remember that was my quote when overtaking, I wanted...

Yes, which in turn was about that generation there.

That is, they were girls at the time and now they are mentioned.

Exactly, but why in the overtaking scene at the bar before he dies, right?

That represents the end of Italian comedy.

Yes.

And somehow for me this scene represents the end of

that generation that gives way to this new generation.

Yes, but on the other hand, here we discover the conditions under which Maurizio was invited to leave,

that is, get your father's car, Don't come with your bicycle.

Exact.

Exact.

Which then seems to me... this scene is beautiful too

because you ask yourself, okay but does she do it or is she there?

Did you put the music on so you couldn't see or hear or are you really stupid?

And this thing will be all along its chapter.

Certain.

Not here, you wanted to write this thing about Kant.

How thematic is this thing, the validity of morality?

Yes, this is classic screenwriter stuff.

She is very beautiful though.

Now let's put the philosophical gun.

Luckily, Kant came to this conclusion.

But very thematic, very thematic.

Handsome.

And here we are about to discover the face of... this voice...

This unmistakable accent.

Unequivocal.

And here you see the model of the old counter is proposed again

young people as at the beginning of Pastor versus Sofì.

Sergio Rubini.

Sergio Rubini who... I want to say this thing...

I grew up with some of his films, including All the Love There Is,

which, I always say, is an inspiration for this film.

Because... because that movie really represented

the youth of the suburbs in an extraordinary way.

Real.

He is a director, he is an author, he is an extraordinarily capable actor.

This confrontation between the two of them... about parenting.

Here are two fathers, two friends.

But let's see it.

If there was a little milk in it, better.

Obviously the cliché is that only you know how to make coffee.

Please.

I didn't say that.

This is the age-old issue between us Neapolitans and Apulians, right?

That we always do everything better, coffee, pizza...

And we do it better anyway.

Here you are.

Now you can become a grandfather.

Eh.

Let me feel how you feel.

Old.

And are you comfortable with your gender?

You know, my kind...

Rossella is very much in love, she said the good.

And it's good for her, it's good for me.

Certain.

But you know, don't you, what kind of work does he do?

He knows a language of fruits and vegetables.

Oh, no.

That she's in love.

I, but I, I, I, I...

Among other things, think how much we have changed since we became fathers.

We wouldn't have been able to write this scene like this before, in my opinion.

I particularly care about the scene here because...

Someone who tells you... Silly, stupid.

Oh, how important this sentence is.

How many times do parents pretend not to see.

It's always the age-old question.

Do I have to be permissive?

Should I be my child's friend?

Do I have to be a parent?

The truth is that there is no correct way to behave with children.

Because then at a certain point it takes over autonomy, the sensitivity of children.

This also lies in the error, perhaps, of Di Leva's character, who doesn't go to

talk to Rossella, he goes to talk to his father.

And not recognize that autonomy there, to Rossella.

This is also a wrong declination of patriarchy, that is, I'm not going to

speak to the person directly concerned, I'm going to talk to the father, who works

one more fatherland power, because Rossella lives

still with them, and not with the person directly involved.

So I'm bypassing the real interested party.

And this is interesting.

Often.

Your daughter Rossellina was there.

Never comes down, huh?

Always parked, at most you smoke a cigarette.

Dicosto's colleagues suspect it is a pole.

And they keep the photos.

Rossella is a good girl.

Sometimes it can be childish, but...

I never stopped her.

I've never...

Not on principle.

...out of disinterest.

Not out of disinterest, but out of principle and coherence.

This thing is fundamental, that is, it's not that I did it because I'm an absent father,

I did it because I knowingly left her this freedom.

For consistency, which doesn't mean shit, you don't have to be consistent with your

son, you must be present, you have to be vigilant.

It doesn't mean anything.

I care a lot about this thing, me.

To be communicated, I say.

It's beautiful, I wish you would go away.

Here is Cosimo's masterpiece, that is, by Enrico Borello.

This scene was completely rewritten by him and me on set,

because we wanted to give it a particularity.

I told him, listen, why don't you sell the rifles to these people?

And from there he went crazy to start saying...

The radiance of the fact that... he might have worked in a...

Of course, of course, it's the factory.

In fact he says, let's say...

They disappear from the assembly line.

Where are they?

He has it like this, I'll make room.

I mean, okay guys, what are we talking about?

Do you like this?

Do you feel like something?

No.

It's a load of bullshit.

Get away from that bin.

Show me how strong this rifle is, come on.

No, it's not this rifle.

Let's bring this bin closer.

Eh, here's the meeting.

The animal.

That's what the scene reminded me of Of hate.

A cow.

From snipers.

Come on, let's make this thing shit.

What the fuck am I supposed to do?

But how should I move?

Come on, suck it, do it.

Oh, come and see, oh.

What happened?

No, you can't understand that it's there.

Run, no, come.

Maybe this is your favorite scene.

I said it.

Maybe you're right.

It's bizarre.

No, no, you want more.

It's pretty big, huh.

Look what it is.

Come on, do something, go.

Let's go fold the gloves.

Ah, he gave you so.

Oh, hold on, oh.

And here, you see, Cosimo, who always appears to us as an almost Mephistophelian character.

Well, up until that point he was talking about guns.

He was talking about weapons, he sent his friend out of the nightclub drunk.

Now, seeing such an innocent being, stops.

It freezes.

Because he is observing, he is experiencing first-hand the consequences of his actions.

Even if he has to accept them, he will accept them, obviously.

We won't see, but he will accept them.

But she's seeing Willy.

She's looking at his face and thinking about what's going to happen to him.

And this zoom that advances on them.

This them, in some way, recognize each other.

Because at that moment you see that he is naked too.

He too is a sacrificial lamb.

Why?

Because they are interested in his complicity.

Because anyway, in any case, they can put him in the middle.

He's not a sacrificial lamb either.

And here all these details, this eating, these annoying finger sounds.

Why?

I wanted the audience to experience Sergio Rubini's torment.

This father who finds himself at this chilling dinner where he is forced to

host the future father of the nephew with his brother in their home.

Who is trying everything to look nice, dressed well, brought ice cream.

But he brought ice cream in a tub.

You understand?

The cardor.

He brought the cardor as a present.

Well, I remember when I was little and yes

he wore the Viennetta when he went home.

Of course, maybe not if you're in your thirties and you've gotten a girl pregnant and you're going.

No, not that. Of course, maybe not if you're in your thirties and have got a girl pregnant and you're going.

No, not that.

But it reminded me a lot of that lost world.

Of course, absolutely.

Beautiful.

This was somewhere else, no you see?

Well done Sergio.

Look what he does, look.

He doesn't know how to say it.

They do this with freeze-dried sachets.

And here the teacher gets stubborn.

Subtexts are very important here, no?

Yes, yes.

That is, the ice cream isn't quality, it means you don't have quality.

Quality is never accidental.

It is always the result of intelligent effort.

This sentence is telling him that you could

apply, but it's useless because you will never change.

Look at her trying to protect him.

It's the chilling family dynamic.

Of course, because for him the shortcut is increasingly important.

On one page I was reading that they talked about American parmesan.

Alright?

Parmesan, right?

These fucking Americans are attacking us 'Italian Quality label.

It's obvious that it's to deceive the public, no?

Well because they don't have the climate to do it.

But this made me think.

The quality.

What she says.

It's just a word.

He is incredible.

Now he reminded me of Lando in an instant Buzanca a little.

Certain.

Who was a great actor.

Great actor.

Also very underrated.

No, among other things this thing... The inspiration was My wife.

Why My wife told me about parmesan.

And I thought, look at these fucking Americans

they attach the label Italian Quality to sell it.

But then it sucks, it's not parmesan.

Because obviously they can't do...

Because there was Trump during his first administration, right?

Already the duties, the things, etc.

Who campaigned against parmesan.

Parmesan cheese.

Enraged by the fact that it couldn't be done again by them.

And people try to explain to him that there are no climatic conditions.

This thing has always made me think.

In fact, this scene, this confrontation between them...

Which is a change of power and scepter.

Because you think the father is in charge.

Then he tells him, look, we are all part of the same capitalism.

Both economic and thought.

People like you buy it, in the sense that they believe that...

Both actually... how to say...

What happens is not true.

Instead I eat it.

I accept what is happening in the world.

That is, it's people like me who are in charge.

The ignorant in power now.

There's a movie about the Trump administration.

Even a little.

Now it can be found everywhere.

And here is the B-side of the scene we saw before.

He's even calling him a dick.

He says, what is he doing?

He's a pawn.

Clearly he's a pawn.

He's a pawn, isn't he?

Here.

If any problem arises, let me know, that gesture means that the blame is folded.

If they drink it he goes to jail, it would be that gesture.

This is wonderful, isn't it?

That is, they made him come...

That is, only for their interests.

And here,

as they say in Rome... They push stuff.

Meaning what...

Which was their business.

In addition to extortion.

This too is true.

Only they were two girls, I think, right?

They were... yes, they were two girls.

They went.

They had two other friends.

We had to merge, because we couldn't tell everything.

There was that hilarious scene with the little girl.

The only girl, in short...

Yes, because first there was a character, and then we cut,

who was Giorgione Detroit, who called it Detroit.

Their leader.

What the American wanted to do.

Who took someone else with them into the woods, and then was left alone outside.

And she told him...

In short, what were we supposed to do?

He gives me a kiss, something.

He distracted himself from the Snake on his cell phone, looked at her, and with a plomb

English said... I've never been good with women.

Yes, he had a great ambition to defeat.

Filming this scene was... A context in which everyone strives for excellence.

But he recognized his mediocrity.

This scene you were saying, sorry?

No, actually I would like to talk about this that is happening, this nightmare.

You know I'm obsessed with nightmares in my films.

I always put a dream scene in which a character

he feels closed inside his own nightmare.

This, the inspiration is a bit like Fellini's Eight and a Half, isn't it?

The beginning, like this, where you don't hear noises.

There is only, it seems to me, a background noise.

There is the noise of the air conditioning of Mastroianni's car.

Here is his shhh.

There is a mother cradling her son.

It's a bit like Rosemary's Baby that you mentioned before.

It's the professor's nightmare, by Sergio Rubini, who... who wakes up with a start.

I know, because once I saw it I thought

that he is the one who is breastfeeding the baby.

And it would like to be like this, the nightmare.

Let's say, I don't specify, but in My head it's like this.

Then parmesan is made from the milk, so above all it comes back, you see.

Excellent.

At all costs, symbols.

Sergio Rubini here, guys, only made one Chuck.

Unfortunately I wasn't able to assemble it all. which was very long.

At one point he cried desperately with her

daughter and on set we were all devastated.

Moreover, on the first day of filming, as his fan,

I went to him with the DVD of all the love there is.

I said to him, can you give me an autograph?

Fantastic.

He laughed and said, has this ever happened to me

colleague who stars in one of his films and asks me for my autograph?

I told him, well, it's the first time, but I'm your fan, please.

And he really got a little unbuttoned there, because he is a very rigid man,

very self-contained, very professional, very serious.

And there he understood that, in my opinion, he thought I was a bit of a sucker

maybe until that moment, because all I did was tell him how much I liked him.

Instead there, in my opinion, watching the latest DVD

day, he said, but this really... is like this.

Here is one of the various pieces that contribute to the

madness of this night, that is, a misunderstanding.

Because she is calling him because the father clearly said… He is misunderstood.

He is equivocal and thinks she has understood that

that one is fucking someone else in the cemetery.

Yes.

And hence a whole series of bullshit.

What bullshit, what bullshit!

But you asshole!

Listen, Rosè, he loves you, even if he's with her, understand?

But who is that?

No, I'm drunk, I made a mistake, I wanted to say something else.

That who, no, that who?

That is, here is the tragedy that adds to the tragedy.

I got you, bevel.

More, more.

Huh?

And here is version B of I missed it.

Them coming out of the disco, In the temporal axis.

Him at the wall, they're arguing.

Luca is... Lorenzo is doing his thing at the cemetery.

And there is the misunderstanding.

You don't know how to say beautiful things.

You can't tell her bullshit.

He doesn't know how to lie.

Can't you lie?

Oh, I know, it's a long story.

No, then there is... And in fact he is not lying.

No.

Do you know how it ends?

Yes.

Let me talk, feel it's there.

That we come when the fuck they make us talk, no?

HI.

A punch in the face.

Come on, you punched me in the face.

Huh?

I love, fuck you.

Make it easy because... I'm leaving, huh?

This gesture again.

I don't care.

Go away, who cares?

Fuck you.

They transcend everyone.

I mean... I love, you make me say you don't do what I said, huh?

Come on, fuck you.

You make me say you don't do what I said, huh?

Fuck you.

Oh, man, what's going on?

Oh, Will...

I mean, you can't understand if this Cristiana is what she is'

stuck like one because that's what he told me, to Bella.

I mean, you're going to make a mess.

Just do it, please, please, talk to us.

Oh, Doctor, what idiotic contexts.

And here we see for the first time Willy's face which we have deliberately...

A little, yes, yes.

...and wisely didn't...

It could have become more...

A huge mistake to present it before, luckily, you fought to put it on

exactly. But I must say that the producer immediately supported this one

thing, no other manufacturer would have done it, in fact we don't say who,

there was a co-producer at the beginning who was very insistent on seeing this film.

But why did they completely misunderstand the nature of the film?

It's not a film about Willy, it's a film about people.

Because sometimes incredibly people judge negatively

a film because he would have liked to see something else.

Yes yes it's true.

But it's not that the movie is bad because it betrays your expectations, the movie can

be ugly because it's not what you expected, the author wanted to tell it

that way, one either accepts it or doesn't accept it

if you don't accept it you can't brand the film as bad.

In fact this is not a film about Willy, it is a film perhaps about a generation.

Among other things, this piece... as if it were one

of the few generational films being made today.

Well the success of the film...

Among teenagers it's incredible in the sense... I was saying Noize Narcos to say,

you don't feel it in the movies, for me it's a Noize Narcos poet.

When I immersed myself in their reality, listening to their music,

trying to understand how they dressed, how they spoke, me

I realized that they are not represented in the cinema.

Because they are always judged, how we were judged.

You don't have a future.

You are kids.

In my opinion, today's kids are better than us.

They just need to be listened to.

Nobody listens to anything anymore.

Nobody.

The appearance of the quartaccio is wonderful.

Yes.

Ja Green, your son has come home.

Stupendous.

Thank you Mrs Frank.

That lady calculates to make him say that sentence...

I don't know, it took us like... as long as a movie.

And she couldn't be herself.

As beautiful as this thing is, it's tiny.

She who removes the excess car from her son's perfect wash.

And it leaves a finger print.

And he leaves his finger print because deep down his mother hates him.

But what makes us understand, in short, is reassurance

of the night shift, he who comes back late.

Here just to make clear the difficulty of the film, none of them are actors.

All taken from the street.

She goes to high school, her mother is a waitress.

Oh, do you go to high school?

Yes, yes, it's small.

And among other things I discovered on set who I am

relatives she and Justin, the boy who acts as Willy.

Oh come on.

They are cousins.

Ah but did you discover this later?

I discovered it on set.

Ah but think.

And he didn't tell me, okay but he doesn't talk much so... it's beautiful.

Maybe they don't experience cousinhood the way we in the South experience it.

Can be.

That Rome hasn't even lived so long.

That is, however, we grew up with our cousins.

Yes it's true.

So...

But it's incredible when I think about this scene how good they were and I didn't have to

do lots of takes because they're real, it's them.

I asked them to be themselves.

They are exactly the opposite of the scene at the twins' house.

That's right, it's the opposite of the scene at the twins' house.

I asked a mother, yes mother of your children and be brothers to them.

Do you have any siblings?

Yes?

Ok, visualize your brothers.

Let's say I'm a fan of the Meissner method,

Of quickly becoming attached to things, things.

Of his own life and I tried to transfer it to him with lots of physical exercises.

It's wonderful to see them interact like this.

In fact, here is something that happened to me too, when I cook for my parents...

Nothing, I always remain very sceptical.

Well, very typical.

If my sister cooks a dish for her she starts telling me how much salt you added,

but that's like this, because that's cooked like that... No but it's... It's all a criticism.

The parents are worse.

Because anyway the brothers, ok, it fits.

But with parents, that is, don't go too far because

I don't even want you to feel bad about it.

But they can't be totally hypocritical.

To disguise the fact that what you did left them a little indifferent.

Here he tells her...

If you're sad, I'm sad too.

This is a phrase I said to my mom a

day that something not very beautiful happened to us.

When my mom saw the film this scene came on.

He cried and it was very beautiful I must say for me.

I always show films to my mother.

We have a very intense relationship.

I like to think she's proud.

One day he told me your dad and I are really proud.

The same sentence you told me with Giancarlo one day and another day.

And it made me reflect that we do things in life.

In this case we make films thinking about us, about what we are doing.

But then if you hear a person say they are proud of you you realize that

it has an important impact on those around you.

And so that becomes an anchor engine

greater than your dreams, of your aspirations.

Responsibility.

You have a responsibility to others around you.

In not disappointing them.

That is, simply a mother who tells you I'm proud means that you didn't disappoint her.

As well as a friend.

The complicity between the two of them is very beautiful.

He is Massimo Carotenuto, a genius.

Excellent.

A genius.

Afterwards we will see him in the locker room.

Oh well that scene is fantastic.

How does the hang gliding thing die now.

Yes, the hang glider.

All improvised eh.

That is, we wrote the scene about Giuseppe but then

there were all the nuances that they put in.

But is that surname fake Cifarelli?

Yes, yes it's fake.

But Cifarelli, you know that it is a very common surname in Matera.

Especially for stationery shops.

No, I knew it.

That is, Cifarelli is the stationery shop where I used to buy

all the accounting material from the beginning of the year.

The diaries, the notebooks.

It is an involuntary semi-citti Giuseppe.

I wanted to pay homage to your roots.

But you heard it somewhere.

No, we made it up.

But this thing is beautiful.

It's very beautiful, yes.

Here, as always, we see the B side of the previous scene.

On the one hand the complicity, on the other the danger that arrives unexpectedly.

And the near encounter with the twins.

The last look between Willy and one of his killers.

This scene is...

a neurism.

I would define it like this.

Yes.

How long did it take you to assemble it?

To make sense of it obviously.

Consider that everything you see is shot by me by hand.

There are many sequence shots made in all different points of the room.

With a car running at the same time.

While I'm on the right she positions herself so as not to frame me.

All against all.

With two sound engineers on stage who tried not to overshadow either me or him.

So during editing I went crazy trying to find the rhythm.

I remember the footage.

Madness.

And we were saying how the hell is he going to mount it?

But then it succeeded.

In fact it is completely deconstructed.

It's all a setup, how can I say, wrong,

in quotation marks, as we said at the beginning.

But no, it doesn't fit.

It's strangely...

I mean, despite being so unstructured, you still have

a perfect perception of where they are moving too.

Of the geography of the place, of the location.

Which is the hardest thing ever.

The thing we underestimate the most.

There are films where you never understand where you are, when you are, how you are.

Yes, but not in a good way.

No, in a negative sense.

It's a good thing sometimes, but in a way that I agree with.

Sometimes it seems like all you need to do is get stuck up

make a scene, when in reality this is not the case.

There's also some subliminal stuff, because you saw it at the beginning of the film

a shot from outside the glass, no?

So already more or less the perception.

So you have the perception of what c 'it is.

That was an established shot, in some ways.

Well yes.

And then in any case, respecting the positions, also because

these bastards were constantly moving.

The dream of editorial secretaries.

No, the editorial secretary... She had a demonstration too.

Whom I greet warmly, with great affection, I believe he committed suicide.

Who is being treated.

He's being treated, yes.

Which is Giulia Albano.

She is the greatest edition secretary in the world, because a

day he looked at me and said Vince, what am I writing?

Let's look at the scene.

While we were shooting the season.

It is true.

I said yes, enjoy it, I'll buy you popcorn.

I really like this thing he says

Sorry, I don't understand it, I only understood pizza.

I put that one even in the worst ones, in my first film, in the sense that...

Not the same sentence.

I like the idea that we Neapolitans are always a little mistreated in Lazio.

And Willy, who is more integrated in color than the Neapolitan boy, understand?

There is no racism towards him, but there is towards the Neapolitan boy who

He's constantly being ridiculed for his origins.

Even after now there was the changing room.

They told him you were the son of a guard, you are also Neapolitan.

This is a tribute to my soccer shoes.

I got so many compliments on this series.

I said but look, there was no need to write anything.

That's what happens on Thursdays.

But he who just played the Dolphin.

Fantastic.

It's there, it's too strong.

See huh?

You are the son of a guard, you are also Neapolitan.

Marvelous.

And he's very sweet.

Wait, what does today even mean?

Ninth.

You made me lose my mind.

I'm too strong.

A bit of a fool.

If I can't stay because it doesn't belong to me.

Beautiful.

Why are you still wearing his t-shirt? Rome?

And explain it to me.

Nothing ever matters to you.

And tell me the lineup from Rome.

I really appreciated that the character of Willy didn't have it at all

costs as is often done in this cursed country in which we live.

Sanctify it.

And not even a vulgar phrase is put in his mouth.

When you make a film like this.

Instead you described it for what it was.

A boy.

Guys talk like that.

They don't always do and say the right things.

Or they are respectful.

Why then misrepresent the memory of a person like Willy.

Who met an unjust death.

Like the one he encountered.

It doesn't mean altering your reputation, the character and soul he had.

You, on the other hand, presented it because... For what it was.

A boy.

Point.

But then you remember when we used to meet his friends.

They told us... Because the newspapers said.

He wanted to play for Roma.

All bullshit.

But it was also a football saw.

He didn't know he lacked training at the time.

The reason we wrote this stuff.

Because then very often they sanctify themselves.

And it's the wrong way to tell these people.

There is also the matter of friendly racist jokes.

So...

This thing he tells him is important.

You know, the difference between Babba Ganucci and Beccinella is missing.

Oh yes, we'll collect this one later.

We collect it.

I wonder if he has already heard it repeated several times.

Likely.

In Tokai.

In the restaurant.

The revival.

That's an old obsession.

Very nice.

Excuse me.

Please.

No, I meant, this thing is very beautiful.

He's wearing a green shirt.

I wrote Weck Malaya.

Which doesn't exist.

Because they bothered us.

That...

The NBA that sees the film sues us.

Weck Malaya is simply Milwaukee.

At the Milwaukee grabba.

I mean, so...

Can you imagine the NBA suing us for using Milwaukee's shirt.

Oh well, the tattoo you saw, Savage Boy, that's still a Noids reference.

I cared a lot about it.

The real Willie actually had the Savage Boy tattoo.

And here we see him in his kingdom, where everything makes sense.

Everything is calm.

Even the direction, in some way, it's not so tight anymore.

In fact, I imagined that you would drive around here with a fixed car.

But I still wanted coherence with the rest of the film, I'll tell you the truth.

However, they are always scenes that come from inside, from the belly.

But the pace slows down and if... Has anyone noticed this?

In Willie's chapter, I abandon the use of very tight close-ups almost in the face.

It is true.

I start to distance myself from him.

Josaphat Vagni...

What Josaphat is doing, crazy.

This finger thing that says Chef Tokai.

Maurizio is cute.

Maurizio Lombardi, Chef Tokai.

This thing came to us because I... they are not actors on stage, they are all real chefs.

It can be seen from the verbalization.

And I wanted this scene to be that too

as true as possible and I have interviewed several times.

I studied with both the director of photography and the actors.

Inside this restaurant, various days, the movements,

how to do it, the actors were very good.

And the real chef I told him, give me some

particularities of the chefs, did something happen?

He told me, I'm actually never aggressive.

If I have to be quiet, I tap with my finger on...

Certain.

On the table.

I liked this a lot.

Yes Chef.

Come catch up today.

Today?

Today is very beautiful.

Well... You can see...

He, Josaphat, being his superior asshole, has

worked in starred restaurants as a waiter and it shows.

He has a... There's the gem he put in... Let's move on... let's move on!

I'm passing by, so if you have to turn around, nothing will fall on me.

Which seems like something that was invented there

seriality and cinema, but that's exactly how it is.

I mean, that's what happens in these kitchens.

We make alpusci, coconut and shellfish.

How much am I up to speed?

Five abreast, Chef.

Thank you.

Chef, I would have thought of doing a fraction on one of the second courses on the menu.

Cod in cooking oil, brublanca with lemon and basil chlorophyll.

But then you would have thought, huh?

Imagine, if we had written, shot this scene at a time when the kitchen was not

it was so sponsored by food influencers, social media, masterchef...

I mean, this stuff seems absolutely ordinary to us now, doesn't it?

Talking about emulsions, about baba ganoush, of chlorophyll...

Things I'm not good at, Besides, you're the smart one.

Well no, but in short, these are things that... But we know them by now.

At those levels I cook it, clearly, but there are tools like the chinois.

Well, I baba ganoush heard it, but I don't know

as it occurs to me that I had had a pit.

I like this thing here now.

This is as if to say tacitly.

Yes, it's true, she's jealous.

Beautiful, phenomena on The Room.

This thing makes me fly, you know?

Because the only racist in the film...

sabello.

Maybe I'm more The Room than you, understood?

This thing is beautiful.

It's a bit like when, rightly, Native Americans stopped by cohesion

anti-immigration they say I'm native, where are you, right?

I mean, I've been here a long time, long before you.

Yet this is a chase that is not a chase, it is a total calm.

Forgive me.

Among other things, if the public could see...

Okay, on the Blu-ray there are actually auditions in the special features,

how I shot them, and it makes me fly that if you see the screen tests and put them next to them

how I shot, I did exactly what had worked for me in the auditions,

just like cuts, like movements, that is, I tried to

almost identical to what I did during the auditions.

It is true.

Here's a little landslide in Tokai who understands the potential of...

But obviously he can't... Exactly.

But perhaps he already understood it a little, but here it more or less remains...

That is, you see, the trade press reads this about... Tokai seems to say.

And then very good Lombardi because...

He's a poker player.

Look at his face here.

Yes.

Who has the pace, yes.

Got it, you Ben are laughing because... No, no, instead he's getting worried.

Instead he says yes, but who the fuck has the pace?

Exact.

No.

And back to the series.

Excellent.

Very good, okay.

Because until the end, despite there being this openness

towards Willy, he remains what he is, that is, an entrepreneur.

Oh well, he has to run the business,

cannot submit to the demands of a...

Apprentice.

Of an apprentice, that is.

Among other things, let's remember, this thing is true, in the sense, Willy really had it

had some problems with one of his superiors, one of his

chef, he didn't work in a starred restaurant.

No.

It was quite a restaurant, too, let's say, normal, not anonymous,

in short, of a hotel that was on a highway, if I'm not mistaken, and it wasn't...

Oh well, what we'll see in the end, which we will understand in the end, it happened.

Actually, yes.

In reality, a little earlier, really, but a little earlier than events.

Here is the car disease, because you remember how much the

fact that, when we interviewed Willy's friends, they came with these big cars

modified, they only talked about cars, that we said, but in 2025 they remained

like when we were little, that is...

We are now preparing leasing, which is a slightly healthier practice, let's say.

Exactly, exactly.

It also prevents us from becoming attached to cars.

He's good, it's true.

But when we were in high school, everyone changed.

I remember, my first Clio, Renault Clio, 18 years old, used,

those friends of mine all editing, exhaust, control unit...

In your opinion, this thing falls away, the love for cars, when they are stolen from you.

And to me, who had my car stolen, I understood that I just had to take cars.

..

It's true, it's true.

Which, by the way, now I'm even less worried when I get them back.

And I say, oh well.

My love for motorcycles ended when they gave it to me

stolen from the house on Valentine's Day, you're right.

That's how it is.

She was My girlfriend, so they took my girlfriend away.

Oh you see.

How sad.

That's when you realize that objects possess you, quoting Fight Club.

This scene... She's crazy, nothing crazy.

She is very good, but so are they, how they react to his charm...

I remember a little Lauren in an episode of a film directed by Vittorio De Sica,

which is called La Riffa.

The Riffa, how?

I remember that character a bit, courted by everyone.

But that she, obviously, is Sofia Loren.

It's beautiful.

So, in short, you first have to get to the level of my charisma.

Then you can ask me out.

This thing is true.

Yes, yes, this was a story that Willy's friends had shown us.

Which, by the way, had been published.

Yes, then they removed it.

Yes.

We have, let's say, on set tried to make it identical.

That I have this content.

Obviously I won't divulge it.

It makes an impression.

Yes.

See the real Willy and Justin.

In fact, they had no idea.

Many videos from that evening, before what happened happened.

He had a white Adidas t-shirt, which is why I dressed him in white.

And it's impressive because Justin actually remembers him a lot.

Also because this photo of him always appeared in the newspapers

Willy with this big smile, beautiful, little one.

But it was actually a photo from when he had 15 years.

Yes, the first... When he died he was 22.

The first thing that was misrepresented is that we all initially believed that yes

it was a 17-year-old boy beaten by thirty-year-olds.

In reality he was a 22 year old boy who was killed by some of his peers.

Very tall too.

Very high.

In fact Justin is tall.

Maybe he's as tall as Willy.

And meanwhile the Whites were smaller in stature, there were more of them

large in size, but smaller in stature than him.

And this is one of the many things that are misrepresented.

That is, the racial crime.

Yes.

The crime of two adults against a boy.

This scene is from a true story, because when we went to interview him

Willy's friends told us, one of them who works as a guard in a

prison, which he had recently seen

this boy who shot himself because...

Toxic.

Like his mother, they hadn't allowed him to be with his mother, and he was

shot because he couldn't bear not seeing his mother.

I enter my building, I hear people screaming, I look out there on the terrace,

and I see a guy who is a drug addict who got out of prison a week ago.

Oh well, in short, he shot himself in the mouth.

And there are two things that struck me about this story.

The first is that the boy who told it to us told it to us with a...

Naturalness, yes.

...sensitivity, incredible naturalness.

It is true.

Disarming.

An everyday life.

Something that lives every day.

And the second is the relationship with the mother, which is a

very important relationship in the film in general.

One is missing.

Yes, in fact it was... it's a bit like when they spoke to us in a slightly more extensive manner.

It's just that it was normal for us to get into a fight every evening.

Over there.

And after Willy no.

No, in fact after Willy there was an incredible change of pace.

But the fact is that if you went out in the evening there was always a bit of fear

approaching a girl who could have been someone else's girlfriend, etc.

It was normal for a fight to break out.

So let's say everything that happened before Willy's death was

an ordinary evening from what they told us.

And then you remember that they told us that they went to a lot of nightclubs and says

after Willy's death, the one over there in EUR, now

We don't go there anymore because it's a bit dangerous.

Yes.

We want to avoid.

They didn't think so before.

Oh no.

Here he was about to tell him something important.

Yes, that seemed like something negative.

Yes, it looked like an argument with the chef.

Yes, with Renato.

We don't know what he is... because he actually calls them Christian.

Oh yes, because he has problems.

Because it was supposed to be his last night with Michelle.

And be careful how friends influence us.

Yes.

He took her to eat pizza at

factory because Ginetto recommended it to him.

Yes, yes.

If he had taken her to eat fish

it probably would have been a different discussion.

Yes.

Because she wouldn't get annoyed seeing the factory first thing.

It's all a coincidence of guilt, let's say.

So he doesn't tell her.

He dies before telling him what he had to tell him.

Yes.

And here we return to the scene of Vittorio's phone call who, stirred up by... Yes.

From Cosimo.

He tells him, there are twenty of them, they want to lead to Maurizio and his friend.

Yes.

And he even tells him to tell him they have a gun.

There are thirty of them, here they have already increased.

Exact.

Do you remember then in reality there was the girl who went down to her friend and said...

Yes, yes, yes.

He said there are forty.

It was cut.

This is Noize Narcos which before that is Ferri, right?

Yes.

And this is a moment that always keeps everyone at the cinema a little...

Total silence.

Yes.

I remember the Rome festival, there was truly an eerie silence.

And here you know that the film is ending.

But more than anything, having built it like this, that is, with Willy at the end,

as if at a certain point people forgot that it's about Willy...

Yes, she's almost distracted.

Then you get closer to this moment and they come to you

the shivers because you say, this one will die soon.

Yes.

It really happened.

It's here, it's here.

Yes, yes, yes.

It is true.

Well, coming up with the closest comparison I can get

in mind, any film about the passion of Christ.

I mean, it's the story we all know, but we regularly see those films.

And when that moment comes... You feel bad.

Which is very long because it's not just the crucifixion or death,

there's the whole ordeal, torture, etc.

And they always make us jump like the first time.

Like when we hear them in catechism and we didn't have the films.

Yes.

As a comparison.

Moreover, the thing I always say, I did many matinees with schools,

I always tell the kids, in the newspapers they said that Willy

had been a hero who saved a friend in difficulty.

No.

First of all I don't see Willy as a hero, I see him as a very human being.

Certain.

Who performed a gesture of great humanity.

And humanity is a concept we stand by

moving away, especially nowadays.

Yes.

And he didn't walk away from it.

Yes.

He didn't dive into it.

And the other thing, he didn't help a friend in need,

separated two people, he didn't even know one.

Yes, yes, yes.

That is, this is a gesture of great altruism,

that is, he didn't want anyone to get hurt.

It's not like he told his friend just stop.

That is, he said to both of them, get it over with.

Certain.

And for me personally it's extraordinary.

And what a beautiful further thing, that is, one of the two twins who arrives loaded with

buckshot because he just received the phone call from Rossella.

Exact.

Which is Cosimo's misunderstanding, no?

Yes.

Which in any case now Rossella calls him, so he comes down even more pissed off.

These are our inventions.

But let's assume it went like this because Rossella then

that night they found her in the bar with them.

So how is it possible that the night he was at the bar with them,

the night they fucked in the cemetery, were you there?

Fuck wants to tupa.

And here this terrible scene.

As I said before it is one of the rare moments in my life where I cry on a set.

Certain.

Also because as you can see how it is shot.

Yes, that's exactly how it happened.

That is, it was a good hour in the dark.

Yes.

With a special focus on here and there.

Yes.

Which is on the ground.

Which is already on the ground, understand?

It's a terrible thing that happened.

I feel bad now even talking about it.

Yes.

It's a truly documentary thing.

I wanted the camera to really be inside

with them and made you feel the agitation, the madness.

And there was to be no complacency.

It couldn't have been a pornographic scene, it must have been a cold scene.

Like death.

That's the amazing thing about these two that yes

they are actually stuffed into the machine.

And here there is also a whole question, there was a question at trial why

they started giving each other shit.

Yes.

But why did they get into the car with them?

Because they wanted to be part of the group.

It's banal.

Because basically they also had to escape, remove themselves from that situation.

Yes they had to, yes they certainly had to escape, okay, but...

They brought that thesis on purpose to separate the blame,

to establish a line.

Of course, in fact now in the car.

Yes.

Then there's that wonderful scene coming and them waiting,

they don't know anything, they don't know that Will is dead.

The one in the car is gorgeous too, Here's another wonderful scene.

The one in the car that happens now, let's say, we have a bit...

How can I say, reworked, meaning that these things that now

they happen in the car they actually happened afterwards,

between them, between the police station and the court.

It seemed more effective to do everything here and this scene actually is.

They are extraordinary.

Yes.

Yes.

Borello is crazy.

But they were unmoved, that is.

They remain impassive, he gives them the rings.

Everything you see... Yes, yes, it's true.

Except it seems to have happened in the bathroom of the club.

Yes, in short it all happened a bit in time

different, but what happened is all true.

There is an open question about Maurizio, in the sense that out of 24 witnesses only 3

they say they saw him kick a Willy.

Yes.

And indeed these three are also linked to the Whites.

Yes, yes, yes.

So it was never clear whether he gave it or not.

Despite being sentenced to 21 years.

In the film I tried to stay on one side, to be neutral.

So when everything is there, I don't know if you did

case, he turns, starts to go towards Willy and cuts away.

You don't know what happened.

The reason why he defends himself in hiding.

The friend tells him, oh, you saw him, you gave it to him, you hit him.

And he tells him, no I did shit to him, it was you.

Because it has never been understood, we will probably never know.

Now there are those who say he gave it to them, he didn't give it to her.

I don't know.

I don't really know.

But... It doesn't wait for us.

No, it doesn't wait for us.

But surely what happened was bizarre and a bit... I don't know.

This is very controversial.

This is a scene that you had to set, among other things, for daytime needs.

This is still night.

This one was actually night.

Yes, yes.

I had to do it during the day to empty the budget.

The famous nights.

The famous nights.

They cost, they cost a lot of money.

Night surcharges, lights that need to be placed.

Here is our Zenzola.

Cesco Zenzola.

What the title says.

Fetish actor who comes on set to me and says I won,

I thought it took the people over here 40 seconds.

So announces the title.

What do you say?

He shouldn't have said it.

Inevitably it ended up in the trailer.

Obviously.

Thanks to this joke.

With a pose.

It's fantastic.

How great.

Sebastian.

Sebastiano Patanè is actually a very good actor who, let's say,

he did me a favor by doing this little part

because I wanted friends to be in the film.

He really has the face...

Yes, as a cop.

From everything.

He has a bit of a face for everything.

Yes, yes.

This is another scene.

In reality, here in the true story Cosimo was break dancing.

It is true.

Something was invented here, or rather, you can say he invented it.

..

Something even funnier.

Yes.

More relaxed.

This is a sequence shot that I used because

I think it describes this moment very well, right?

These pauses about the characters sitting or doing nothing, the boredom, the spinning ball.

And if we go on him doing this shit...

The sequences that is a bit, how can I put it, it's like

our eye observing them one after the other.

Oh mama.

Do you want to go to the commissioner?

Oh come on.

But I'll show you something.

Let me see a little.

I don't know if you see it, eh.

Are you ready?

He is galvanized.

Commissioner.

Among other things after they threw shit on each other in the car.

Yes, yes.

It was fun.

I've been going for 20 years...

Now here we collect a bit of what we saw at the beginning of the film with the

sheep, that is, the young man who fools around, he's on his cell phone, snorting at the old man.

Cosimo, who's always messing around, snorts because he's picked up when he's released, sits down,

so instead he walks through the woods, crosses the wind.

And at a certain point he finds himself in front of a dead sheep.

Yes.

His expression changes completely and he becomes worried.

The bargain this scene, no, it is exactly

like this, that is, Cosimo sitting casually.

Now the marshal will tell him, the boy is dead and his expression changes.

Yes.

We're not playing anymore.

And the old man who looks at the young man with his cell phone stands up.

The boy is dead.

Will you have more?

The Marshal already needs these games.

Here with the production there had been a bit of reticence at the moment in which now the

marshal gives him this slap on the shoulder, right?

Because they said it looks like forces Dell'ordine in qualche modo abusassero.

Let's use it on a boy.

Which of course I totally disagree with, I didn't agree with

and we discussed this a lot because what I tried to explain,

who then understood and above all the public understood it, this is the thing

important, is that this, this slap that gives him, look see, sit down

straight on the chair, it's not like a policeman, it's as a parent.

Which releases tension.

It is as a professor, as a teacher who says to the child, now get on

sitting on the chair, be quiet and sit straight on the chair.

And for me that thing was fundamental to the character of Leva, who is a

character who always seemed somehow conciliatory to us.

But at that moment he can no longer be a slave to his uniform, he becomes a father

who betrays himself with this gesture of annoyance, this gesture of nerves.

Here several thousand euros of damage have been done to the stains of the

police, because the people outside actually didn't appear, but they are

people taken from the street, who we asked to be extras, always for

this thing of Mine, the truth, the truth, the truth.

And so obviously they lashed out because many of them, let's say,

they do not have good relations with justice.

Ninth.

When I told him, please, be true, attack the stains of the

Carabinieri, they couldn't wait, they started

throwing things, breaking glass, panic happened.

But it had gone well, very well.

The clouds full of water are about to cry, aren't they?

They are about to mourn the death of a boy.

And here we see the arrival of his mother all 'orbitory, it's a terrible scene.

Furthermore, Willy's real sister, Milena,

he called me and said I'm coming to visit you on the set.

We had never seen each other, we had only spoken.

At first she was very reluctant to be part of the film.

Then if you listen I've decided that I want to meet you, I want to come to the set.

And I told him you can come whenever you want and I gave her the orders of the day.

And she came just on Dell day 'orbitatory.

And I felt terrible, I thought this

now he relives that terrible moment with his mother.

And it amazed me because it had a crazy, incredible plomb.

He stood at the moment, observed her in silence.

Among other things, I wanted the actress who plays the mother not to touch the body,

didn't you see?

He makes that hand gesture because mom can't.

And once the scene is over, the real sister of Willy complimented me by saying...

In short, I really felt like I was there again.

Tough, huh, Giuseppe?

I assure you it is heavy.

Very heavy.

Emotionally this film blew me away.

I didn't think, I've never made a film in all our life.

That is, in a yes sense, The Golden Men l 'we had written among all our true.

But not like this, not with these social and dramatic implications.

And here the clouds finally cry.

For Willy's death.

And the camera lingers on these tiles.

On asbestos.

On asbestos.

The Ethernet.

To then slowly show us this little square where everything happens.

Constantly we end up on the famous wall where Willy, the real Willy, banged.

And then reality was a machine.

There was a car but there was also the wall.

Oh, that's right.

Yes, yes, because they were all cars parked around.

The shape of the building wasn't exactly like that.

And then, no, you will remember, there was the famous wall where they had put the

Roma shirts and banners and things.

Now there is the monument.

Now there is a monument to him.

And here we go back and find out what Willy...

Some even, some critics, he compared this scene to fiction.

When suddenly John Travolta comes back to life in the movie.

Because we take a step back and John Travolta is... In Bruce Willis' bathroom.

Exact.

Before getting killed.

That's right, getting killed.

And immediately after, let's say, the death of the henchman in the car.

When the bullet goes off.

Beautiful.

Here we find out basically what it would have

Willy wanted to tell his friends before he died.

That we are convinced that, let's say, in the film, seeing it, we are convinced that...

Whether it's... I quit.

And instead?

And instead we have an implication...

Well, basically whatever he does gets fired.

Technically.

Technically, yes.

If we want to see it that way, yes.

Justin was very good here.

You know that to do this scene many people came to visit me on set.

Now Justin...

Famous.

I love him dearly.

But, let's say, he's not an actor and it was a lot of effort with him.

Oh well... He admits it too.

In this scene inside the kitchen to make him act

I actually had to invent the traguses.

One of the things we did at breakneck speed were push-ups.

Because unfortunately he couldn't get her out of his head

his... he's rightly not an actor... His beliefs.

His being not Willy but Justin.

Certain.

He couldn't do a lot of stuff.

And so I make him do a bunch of push-ups

to break the breath, the afterthought.

Certain.

In short for... That's why you also told Josaphat to hurt him.

I told Josaphat to be very aggressive.

Josaphat helped me a lot.

He was very aggressive.

There was the backstage that I edited.

You can see me talking to Justin before every joke.

I munch it all up.

I tug at him.

I often hurt his stomach.

Not bad in the sense... I hurt him a lot.

I mean I squeeze his stomach to make him feel the grip.

And then let go of your hands.

I run to the monitor and say go.

Here is a great Maurizio Lombardi.

A great Maurizio Lombardi, yes.

Here I hope that this scene becomes that on social media

which became Battistone's scene in the body.

There is My greatest ambition.

I'm very happy that that scene was...

It ended up on various sites, among other things.

On various pages.

Battistone's monologue.

The bookmark.

Various pages by psychoanalysts, among other things.

But I expect this one too any moment now.

I have to put it on.

Because in my opinion it also represents our work for certain.

That is, we don't expect people to love or enjoy what we do.

Nor that he understands it.

But we really love doing it.

We love making films to death.

It speaks a bit about us, in my opinion, this.

He says it in the interview.

He said it applies to the kitchen, it applies to cinema, it applies to art.

Everything is art.

Then, among other things, Sorrentino said a phrase recently that I find

very appropriate for those who do our job.

Cinema is a job based on dissipation.

Yes, I felt it was very nice.

Which is beautiful.

Most of those forces are dispersed

to create a Beautiful shot, a Beautiful scene.

They probably won't even get caught, because it

spectator at that moment will be distracted at the cinema.

And the fact that he made peace with it

what, you don't even bother him that much.

Apart from that it's a great zen approach to this job.

But... He Tocai or he Sorrentino?

Sorrentino, but also Tocai.

Because Tocai understood it too.

So perhaps we understood it before Sorrentino said it in that way.

Exact.

Basically he's saying...

We do what we like.

Regardless of how long people queue to come to our restaurant.

How much they spend.

And if they come here only to take photographs and not to eat.

We do it for us.

Yes, exactly.

The quality.

It's about quality.

This ghettoization, this caste divided by that door, says it well.

I mean, we're on this side of the screen,

of the camera, etc. etc.

Here we do as I say.

But that's what I was saying before.

Sergio Rubini says... Quality is always the result of an intelligent effort.

Luca tells him... You drink like crazy.

But then he comes and tells you... But it's not important.

It is true.

The important thing is for yourself.

You don't do it for the world.

Yes, yes.

Perhaps Rubini was saying it in general for the world.

Instead he says... But you don't have to do it for the world.

Neither of you are right.

Yes.

You have to do it for yourself.

Then if the world likes it... So be it.

And there you are a genius.

There...

Here, in addition to starting the piece of Apparat Blackwater with whom we wrote

the scene... Before writing the whole film there was already this music...

Which was supposed to be in Bad Guy, an episode that unfortunately we didn't use.

That's better.

It's fairer here though.

Bravo.

Yes.

AND...

This is a sequence shot that starts now.

I wanted to leave the restaurant and be with him

with his last smile and close on him.

Because I've always said... This film is not a film about death.

But it's a film about life.

But you talk about life going through a death.

A terrible death.

But if we had finished the film about death... On the Wailing Wall...

It would have been a depressing movie.

And instead... Although this scene is dramatic...

Because he made it but then he still dies.

But it leaves you with hope.

The most important hope.

Which?

How important it is to have a dream in life.

A goal.

And unlike his cottons he actually had a goal.

And he was pursuing it.

Which is why his death is even more

tragic but remains even more inspiring.

And here is another idea from Giancarlo.

The movie.

It has a happy ending.

The film had a happy ending.

And it has a happy ending.

Giancarlo Fontana told us.

And it has a happy ending.

Somehow.

A bit like Good Morning Night.

Exact.

Let's say.

Even if different.

That one though... Yes exactly.

It is a form of uchronia.

Which Tarantino also used.

Let's kill Hitler.

Let's save Sharon Tate.

And here I really thank Justin for doing it in one take.

It's crazy.

It's more of a more beautiful sequence.

Let's say Apparat Justin Lombardi here.

A divine trinity in this finale.

A trident here.

Furthermore, the news recently came out that they confirmed the life sentence.

I was seeing the signs.

Gabriele Bianchi.

Gabriele Bianchi yes.

All right.

Me seeing these images that remind us Willy I would like to greet whoever is listening to us.

Hoping that what we said.

Hoping that whoever sees this film will understand that arrogance, that survival.

That the overwhelm.

That the idea of ​​destroying others instead of creating something.

Just like Willy creates something beautiful at the end of the film.

It will always be considered a huge bullshit.

And I add if you liked this film, talk about it.

It's important.

If you didn't like it...

yours.

And with this we close.

But we end well.

Let's close well.

Dedicated to Willy.

Absolutely dedicated to Willy and all the victims of senseless violence.

Which unfortunately continue to be there.

HI.

Hello lads.

HI.

HI.