1 00:00:14,530 --> 00:00:15,750 There's a joke. 2 00:00:16,010 --> 00:00:16,689 Yes, yes, yes. 3 00:00:16,690 --> 00:00:18,310 I spit it into the glass, yes. 4 00:00:18,670 --> 00:00:20,090 Incredible. Yes, I saw it, I saw it. 5 00:00:20,850 --> 00:00:23,350 In fact I looked at it, but I say, I have it written. No, I didn't write it down. 6 00:00:23,610 --> 00:00:24,610 Me too. 7 00:00:27,930 --> 00:00:28,930 Yes. 8 00:00:29,670 --> 00:00:35,370 Always for the sake of dialogue. 9 00:00:56,140 --> 00:01:00,820 a great fear because lowering those to discover the dialogue the strings below 10 00:01:00,820 --> 00:01:01,820 they will disappear 11 00:01:45,449 --> 00:01:49,910 The next song is complete. 12 00:02:24,590 --> 00:02:28,750 Our partnership began in one strange way. 13 00:02:30,710 --> 00:02:36,310 I always tell it because it's exactly one strange thing. 14 00:02:38,430 --> 00:02:44,290 When Franco Cristaldi offered me to do the new Cinema Paradiso, 15 00:02:44,310 --> 00:02:46,550 I refused. 16 00:02:48,510 --> 00:02:53,190 I refused for no reason, no I wanted to work, I didn't want to do... 17 00:02:53,500 --> 00:02:57,640 this movie, I didn't want to have too much work. 18 00:02:59,220 --> 00:03:01,840 Franco Cristaldi insisted very much. 19 00:03:02,240 --> 00:03:08,420 I asked him, but the director told me wants, because you are saying, to me, 20 00:03:08,420 --> 00:03:12,420 I have to know the director what I think. 21 00:03:12,660 --> 00:03:18,120 The director said maybe he would, but Cristaldi proposed, he didn't have me 22 00:03:18,120 --> 00:03:20,280 I looked for Peppuccio. 23 00:03:21,060 --> 00:03:26,090 In short... I said forget it, instead he wanted me to read it 24 00:03:26,090 --> 00:03:27,170 script by force. 25 00:03:27,390 --> 00:03:33,310 I read the script and I liked it very much, especially the part 26 00:03:33,310 --> 00:03:38,170 final, the kissing part of Cinema I consider Paradise a moment of 27 00:03:38,170 --> 00:03:41,710 extraordinary inspiration cinema where everything was closed 28 00:03:41,710 --> 00:03:47,470 the history of cinema in this report between the various couples in the films and I have 29 00:03:47,470 --> 00:03:50,130 agreed to do it with enthusiasm, not I regretted it. 30 00:03:50,560 --> 00:03:57,540 that I then met a great artist and the returner instead has the request from 31 00:03:57,540 --> 00:04:03,280 Cristaldi yes no I was mine at the time second film new cinema paradise 32 00:04:03,280 --> 00:04:10,220 and when Cristaldi told me she has some ideas for the music of this 33 00:04:10,220 --> 00:04:15,900 film I had an idea it wasn't Morricone simply because I thought so 34 00:04:15,900 --> 00:04:18,940 unattainable I didn't think it would 35 00:04:19,760 --> 00:04:24,620 could make a film for me and Cristaldi he told me well but it would be right 36 00:04:24,620 --> 00:04:29,060 Morricona for this film and I told him maybe he would accept but I don't know him and 37 00:04:29,060 --> 00:04:35,480 he called him Ennio said no he was occupied by the other had to do another 38 00:04:35,480 --> 00:04:37,340 American film do you remember? 39 00:04:38,760 --> 00:04:43,600 then Cristaldi insisted he did it read the script and after he has 40 00:04:43,600 --> 00:04:49,900 read the script we felt and there we are seen at Ennio's house in his 41 00:04:49,900 --> 00:04:54,060 I study and I remember the first thing who asked me told me but it's not that for 42 00:04:54,060 --> 00:04:57,500 in case you want Marranzano, these Sicilian things? I said no, 43 00:04:57,600 --> 00:05:01,160 absolutely not, it has nothing to do with it. Go well, let's make the film then. 44 00:05:01,820 --> 00:05:05,960 And I'll talk straight away, I must say, about the final kissing scene. Here's how I have it 45 00:05:05,960 --> 00:05:06,960 started. 46 00:05:07,380 --> 00:05:12,460 After that I told him, he was very kind, at the beginning I gave him the name 47 00:05:12,460 --> 00:05:14,480 she and then he said to me let's do your part etc. 48 00:05:15,370 --> 00:05:20,870 And I said, my dream would be to do the music before filming. 49 00:05:21,750 --> 00:05:24,830 I don't know if it can be done, I guess it is more expensive. 50 00:05:25,130 --> 00:05:29,370 And Ennio was happy, as no, I would be very happy to do the music first. 51 00:05:29,630 --> 00:05:33,890 And let's start with the new Cinema Heaven to do it this way. 52 00:05:34,870 --> 00:05:37,270 In that case the script existed already. 53 00:05:37,870 --> 00:05:41,050 And then we started arguing of the script. 54 00:05:43,620 --> 00:05:49,580 Ennio composed the themes that already existed all ready when I shot the movie and 55 00:05:49,580 --> 00:05:54,220 afterwards we always did it that way some cases we even talked about 56 00:05:54,220 --> 00:05:57,760 of music when still there script did not yet exist 57 00:05:57,760 --> 00:06:05,520 let's face it 58 00:06:05,520 --> 00:06:09,400 the problem of the music immediately when I decide to make a film 59 00:06:09,400 --> 00:06:10,740 make a story 60 00:06:11,859 --> 00:06:15,700 whether the script already exists, as in the case of Nuovo Cinema Paradiso, 61 00:06:15,780 --> 00:06:19,300 but in all subsequent films, yeah when the script was still in 62 00:06:19,300 --> 00:06:25,780 processing phase, I talk to him about it, I tell him the film and we begin 63 00:06:25,780 --> 00:06:31,360 discuss me. And so I move forward on the screenplay, Ennio begins to 64 00:06:31,360 --> 00:06:37,020 develop ideas, then cyclically see you, he makes me feel, ne 65 00:06:37,020 --> 00:06:38,020 let's discuss. 66 00:06:39,140 --> 00:06:43,480 Let's start by checking certain choices, a my time depending on the solutions 67 00:06:43,480 --> 00:06:46,860 narratives that I'm starting to find on site of screenplay, let's make some 68 00:06:46,860 --> 00:06:48,200 cyclical updates. 69 00:06:48,840 --> 00:06:53,220 This way at the end of the draft there are already some of the script 70 00:06:53,220 --> 00:06:54,220 precise ideas. 71 00:06:55,320 --> 00:07:00,460 Ennio affects and follows these themes first that I start spinning. 72 00:07:01,160 --> 00:07:05,400 So during the filming I already have the fundamental themes of the film, which are 73 00:07:05,400 --> 00:07:06,580 but of the completed themes. 74 00:07:06,940 --> 00:07:09,040 which have a beginning, a development and a end. 75 00:07:09,580 --> 00:07:14,040 They are not yet developed for the individual scenes from the film. 76 00:07:14,760 --> 00:07:21,740 When filming is over, when I finish assemble, we do the work of 77 00:07:21,740 --> 00:07:27,000 develop the themes that pre-existed shooting based on individual scenes, in 78 00:07:27,000 --> 00:07:28,080 basis for assembly. 79 00:07:28,300 --> 00:07:33,120 And at the end of the assembly they return in the music room and the music is performed 80 00:07:33,120 --> 00:07:35,900 scene by scene, right on the scene mounted. 81 00:07:36,620 --> 00:07:38,600 This is our way of working. 82 00:07:40,260 --> 00:07:45,520 I add, in Malena's case it happened this, which didn't happen as it seems in 83 00:07:45,520 --> 00:07:51,380 other films. It happened that we, the themes pre-existing the film 84 00:07:51,380 --> 00:07:57,300 there were so many that I had to say one day to Peppuccio look at that 85 00:07:57,300 --> 00:08:02,840 here's a babbella and too many themes, look I wanted to tell you too, he replies. 86 00:08:04,030 --> 00:08:09,170 and a theme was missing, even though it was in some cases mentioned at certain moments 87 00:08:09,170 --> 00:08:15,990 of the recordings that preceded them the set, a certain was mentioned 88 00:08:15,990 --> 00:08:20,630 style which however was clarified later and has become a fundamental theme of 89 00:08:20,630 --> 00:08:24,150 film, but this one was born at the last one moment however, it must be said that this is 90 00:08:24,150 --> 00:08:31,090 an exception in our work, is a important and decisive theme 91 00:08:31,090 --> 00:08:32,089 in the movie. 92 00:08:33,419 --> 00:08:37,400 small ideas but not as integral as this one here. 93 00:08:45,080 --> 00:08:49,800 While precisely in the legend of planet over the ocean the music was 94 00:08:49,800 --> 00:08:56,660 own protagonist, he was one of the actors of the film, in Malena the music has 95 00:08:56,660 --> 00:08:58,280 the role he has in all the films. 96 00:09:00,180 --> 00:09:02,180 Obviously if a story 97 00:09:03,660 --> 00:09:10,660 Of love, how to say, unspeakable and unacknowledged. 98 00:09:10,760 --> 00:09:14,760 The love story from a 14 year old boy years to a 27 year old lady. 99 00:09:15,240 --> 00:09:19,180 A love never experienced, never said, never expressed. 100 00:09:19,800 --> 00:09:26,580 So a film where all in all the word has a non-determining role, 101 00:09:26,660 --> 00:09:30,620 while the gaze is decisive, the images. 102 00:09:32,190 --> 00:09:39,150 the stolen shares, the stalking, the imaginations, desire, all of that 103 00:09:39,150 --> 00:09:46,010 which is inexpressible in words, all of this led to giving to music 104 00:09:46,010 --> 00:09:47,750 a determining value. 105 00:09:49,010 --> 00:09:55,850 And so we found ourselves facing a film that during development is 106 00:09:55,850 --> 00:09:59,810 of the screenplay that later also... filming and editing 107 00:09:59,810 --> 00:10:06,030 revealed a musical soul perhaps more stronger than we ourselves are 108 00:10:06,030 --> 00:10:12,150 we expected at the beginning and this perhaps explains this exceptional fact that is 109 00:10:12,150 --> 00:10:17,150 happened in our way of working that is, that I had to invent something 110 00:10:17,150 --> 00:10:22,430 again and change some of the themes which we had done at the beginning because a 111 00:10:22,430 --> 00:10:25,490 edited film we realized for example that the soul 112 00:10:26,430 --> 00:10:30,430 ironic of the film, it was much stronger than what I myself did not foresee 113 00:10:30,430 --> 00:10:37,390 beginning and that in fact the word was not fundamental and therefore the 114 00:10:37,390 --> 00:10:39,370 music ended up having a bigger role important. 115 00:10:46,250 --> 00:10:52,450 Malena's music takes place over two plans. 116 00:10:55,220 --> 00:11:00,020 invented last, is a theme extremely popular, easy. 117 00:11:00,780 --> 00:11:03,640 The other themes are more sophisticated. 118 00:11:03,880 --> 00:11:10,340 Then there is a third level, that of music of the time, of music 119 00:11:10,340 --> 00:11:17,160 of Tarzan, of the western, but they are moments, they are moments, we will face them tomorrow 120 00:11:17,160 --> 00:11:19,720 morning with the huge orchestra. 121 00:11:21,320 --> 00:11:23,920 a huge church formation symphonic. 122 00:11:25,040 --> 00:11:31,040 Those are the ones who give trouble to me, because I believe this film, Malena, 123 00:11:31,080 --> 00:11:34,940 the music of this film, difficult realization for these reasons, for 124 00:11:34,940 --> 00:11:36,300 these insertions. 125 00:11:38,200 --> 00:11:42,880 of music in a style that practically it's not mine. 126 00:11:43,100 --> 00:11:49,040 I had to adapt to certain things music in a certain style. Then the author 127 00:11:49,040 --> 00:11:52,580 Morricone will feel, I believe, equally, because I can't deny it, though 128 00:11:52,580 --> 00:11:58,780 I do an imitation of yellow Hitchcock or Tionkin's western. 129 00:12:01,410 --> 00:12:07,450 red shadows by John Ford. John Ford the director, but the music wasn't... 130 00:12:07,450 --> 00:12:09,530 Yes, of course, it wasn't from Tionchi. 131 00:12:09,770 --> 00:12:13,830 I mean, I think the author does will hear anyway, I won't be able to 132 00:12:13,830 --> 00:12:15,930 deny myself, I can't deny myself when I write. 133 00:12:17,390 --> 00:12:21,750 But it remains for me, said Peppuccio a few days ago, that this is a movie 134 00:12:21,750 --> 00:12:27,350 for music very difficult, difficult for the composer, then the audience 135 00:12:27,350 --> 00:12:32,470 will make music very simply, it will simply seem easy to him, of course 136 00:12:32,470 --> 00:12:35,250 probably, obvious in the sense that right. 137 00:12:35,610 --> 00:12:38,890 Well, this is my opinion. 138 00:12:46,160 --> 00:12:48,040 I really don't know the answer to this. 139 00:12:48,320 --> 00:12:51,640 I say that if there is an affinity it is that I say. 140 00:12:52,040 --> 00:12:54,820 First friendship, then trust. 141 00:12:55,840 --> 00:13:01,360 The composer needs, I have need, the director's trust. 142 00:13:03,080 --> 00:13:09,540 Then I can discuss well, do things accept my ideas from the director, a 143 00:13:09,540 --> 00:13:14,140 accept his and compare myself. This is very important. 144 00:13:16,180 --> 00:13:22,560 With Peppuccio this happens with ease, without difficulty. It's clear, 145 00:13:22,560 --> 00:13:28,960 when I have the orchestra in front of me and he tells me a certain thing, I was saying this morning 146 00:13:28,960 --> 00:13:34,960 which puts me in crisis, but it's a crisis which doesn't last long because then it's there 147 00:13:34,960 --> 00:13:39,300 road of correction of that possible error which is not a 148 00:13:39,300 --> 00:13:42,560 such a serious mistake, it's some kind of mistake time of interpretation of things 149 00:13:42,560 --> 00:13:44,240 unexpected or things left unsaid. 150 00:13:51,950 --> 00:13:58,690 As a spectator, I appreciate it very much 151 00:13:58,690 --> 00:14:03,370 cinema that does without music, that is, for me it is not a rule 152 00:14:03,370 --> 00:14:09,050 absolutely mandatory, in fact I accept the principle that many argue that in 153 00:14:09,050 --> 00:14:12,710 bottom the cinema absolutely could do without music. 154 00:14:15,390 --> 00:14:19,530 Then I personally think so very important because it is one of many 155 00:14:19,530 --> 00:14:20,530 elements. 156 00:14:21,550 --> 00:14:28,510 which help to make more engaging narrative. The 157 00:14:28,510 --> 00:14:32,930 cinema can also do without special effects, but then he uses them, he can 158 00:14:32,930 --> 00:14:37,350 do without color, but then he uses it, he can even do without it... In 159 00:14:37,350 --> 00:14:43,370 basically cinema is mysterious and interesting precisely for this reason, because 160 00:14:43,370 --> 00:14:49,470 it is made up of many unnecessary things that can be used according to 161 00:14:49,470 --> 00:14:50,470 own... 162 00:14:51,560 --> 00:14:56,640 sensitivity and one's own way of tell and here I love music very much but 163 00:14:56,640 --> 00:15:02,660 not a priori, that is, it is only how many times then in the score of a film the two of us 164 00:15:02,660 --> 00:15:09,040 we decide that the music for some scenes it must be silence or sometimes the 165 00:15:09,040 --> 00:15:15,700 we remove it we absolutely remove it indeed it is precisely the relationship between silence and 166 00:15:15,700 --> 00:15:19,660 music which is already an element dramaturgical plus an extra arrow 167 00:15:19,660 --> 00:15:20,660 in the arc 168 00:15:20,910 --> 00:15:27,890 of the narrative because the silence that follows later 169 00:15:27,890 --> 00:15:34,010 a piece of music is much more expressive of an infinite silence and that too 170 00:15:34,010 --> 00:15:40,910 which anticipates and therefore there is a series infinite possibilities 171 00:15:40,910 --> 00:15:47,890 combinations I love it very much and why not I often know the music mi 172 00:15:47,890 --> 00:15:48,890 suggests 173 00:15:50,000 --> 00:15:55,800 how to say the inexpressible, there is all this that the script can't say in 174 00:15:55,800 --> 00:16:01,720 words in pictures must say it for me the music and here the subtext must 175 00:16:01,720 --> 00:16:06,760 say the music today we had recorded a piece of music in one 176 00:16:06,760 --> 00:16:12,400 scene in which he reached the protagonist of the film the news that he was dead 177 00:16:12,400 --> 00:16:16,280 someone and we had made a song beautiful music 178 00:16:18,040 --> 00:16:22,120 very sentimental, very in line with the news that he was very much a character 179 00:16:22,120 --> 00:16:23,120 important part of the film. 180 00:16:24,860 --> 00:16:29,040 But then we decided to change it following my suggestion because the 181 00:16:29,040 --> 00:16:33,080 news of his passing lord actually in those who learned it 182 00:16:33,080 --> 00:16:36,720 determined a subtle and inexpressible pleasure. 183 00:16:37,120 --> 00:16:38,920 And then we turned everything around. 184 00:16:39,140 --> 00:16:43,140 Here, music serves to tell what the image sometimes cannot 185 00:16:43,140 --> 00:16:44,640 say and not even words. 186 00:16:44,860 --> 00:16:46,540 In this sense it seems to me. 187 00:16:46,970 --> 00:16:53,290 of not being able to do without it and in addition to me seems like a fundamental element of 188 00:16:53,290 --> 00:17:00,150 clarification 189 00:17:00,150 --> 00:17:04,950 of the narrative capacity of the movements of the camera. I find that there 190 00:17:04,950 --> 00:17:11,030 let there be a thousand threads that bind the way of move the camera, the way of 191 00:17:11,030 --> 00:17:13,290 tell with movement and music. 192 00:17:20,570 --> 00:17:26,089 Well, I have to say that every movie has made Peppuccio l 193 00:17:26,089 --> 00:17:29,530 'I have always considered it a great film. 194 00:17:32,610 --> 00:17:35,590 I consider it the new Scena del Paradiso a great film. 195 00:17:36,090 --> 00:17:38,390 A pure formality, a great film. 196 00:17:40,690 --> 00:17:43,810 The blue dog, the blue dog episode was delicious. 197 00:17:45,200 --> 00:17:49,360 There it was just music, that was all music. Everyone's fine, it's a movie 198 00:17:49,360 --> 00:17:54,780 delicious in my opinion, maybe people don't he understood enough, perhaps I think, 199 00:17:54,780 --> 00:17:55,920 maybe, I don't know. 200 00:17:57,120 --> 00:18:01,300 Let's not talk about the Starman, he is a beautiful film, with a lot of 201 00:18:01,300 --> 00:18:05,780 ideas, where there is this constant returner to cinema, this one 202 00:18:05,780 --> 00:18:10,240 be careful to reproduce the cinema inside himself. 203 00:18:13,379 --> 00:18:16,480 very important in the legend of pianist on the ocean and I think it's a lot 204 00:18:16,480 --> 00:18:23,360 this film is important Malena where we touch all the 205 00:18:23,360 --> 00:18:30,200 classic strings now by Peppuccio as well if he is so young he already has certain 206 00:18:30,200 --> 00:18:31,900 stylistic features are his classics 207 00:18:42,090 --> 00:18:45,910 The music that Ennio made for my parents children, who I love most, it's difficult 208 00:18:45,910 --> 00:18:48,490 answering is very difficult. 209 00:18:49,530 --> 00:18:56,310 I could maybe find a measure of choice, perhaps on the basis of 210 00:18:56,310 --> 00:19:01,990 difficulty, grandeur, and perhaps to prefer that, which would be there 211 00:19:01,990 --> 00:19:06,330 legend who thinks about the sky, but only because precisely there music had a 212 00:19:06,330 --> 00:19:11,310 truly special role and commitment it was, I think... 213 00:19:11,560 --> 00:19:14,880 or perhaps the most thing at all complicated we've ever heard of 214 00:19:14,880 --> 00:19:20,820 talk, because Ennio took care of it of the music from that film for more than two 215 00:19:20,820 --> 00:19:21,820 years. 216 00:19:22,900 --> 00:19:29,600 We returned because during the script, first the playbacks, then the 217 00:19:29,600 --> 00:19:34,980 music of the film, review on site of assembly. 218 00:19:36,220 --> 00:19:40,460 The use of music during filming is It was a constant commitment of his, too 219 00:19:40,460 --> 00:19:46,360 during filming. So maybe I would point to that, but not because 220 00:19:46,360 --> 00:19:50,920 I liked others less, but why it was truly an experience, I think, 221 00:19:50,920 --> 00:19:54,300 unrepeatable. It was a bit like doing it practically a musical. 222 00:19:56,160 --> 00:20:00,140 In Malena, for example, he is the other day talking to the musicians 223 00:20:00,140 --> 00:20:03,220 he said, we made a cartoon here animated, pay attention to the synchronizations. 224 00:20:03,240 --> 00:20:04,240 What did he mean? 225 00:20:04,600 --> 00:20:11,040 As often in this film, like I said before, the dialogue is replaced 226 00:20:11,040 --> 00:20:17,680 from music, because there is no cause, not there is motivation that 227 00:20:17,680 --> 00:20:19,000 determine a dialogue. 228 00:20:19,940 --> 00:20:24,180 true, explicit between the characters, but it is a look at each other without saying anything, a 229 00:20:24,180 --> 00:20:30,080 looking for each other without ever finding each other, music ends up having an important role 230 00:20:30,080 --> 00:20:35,400 and since history has its own dynamism, has its own very texture 231 00:20:35,400 --> 00:20:42,160 strong, very fast, there is a need for synchronous, bonding 232 00:20:42,160 --> 00:20:46,260 dynamic between music and images very strong and this determined 233 00:20:46,260 --> 00:20:47,460 also a difficulty. 234 00:20:47,770 --> 00:20:51,430 the one he was referring to earlier Monricone that perhaps for the spectator 235 00:20:51,430 --> 00:20:57,370 it's not obvious because it's simple then the enjoyment of all this but has 236 00:20:57,370 --> 00:21:03,790 determined a very complicated job sometimes some pieces of music 237 00:21:03,790 --> 00:21:10,310 they have to deal with scene changes which are a few seconds away from each other 238 00:21:10,310 --> 00:21:16,590 'other frames perhaps all this arises from the fact that 239 00:21:17,070 --> 00:21:22,670 over time we have always developed further down this closer bond 240 00:21:22,670 --> 00:21:28,270 between musical dynamism and that visual and perhaps we are the ones who do it 241 00:21:28,270 --> 00:21:33,370 we seek this bond more and more evident and which always causes challenges 242 00:21:33,370 --> 00:21:39,010 higher in some way though Morricone is right in Malena tutto 243 00:21:39,010 --> 00:21:45,820 this does not translate into a score musical which immediately demonstrates 244 00:21:45,820 --> 00:21:50,140 he hides this difficulty totally, so it will look like one 245 00:21:50,140 --> 00:21:55,800 light, simple musical score, immediate, while in the pianist on 246 00:21:55,800 --> 00:22:01,280 In the ocean the protagonism of music was explicit, it was said continuously and 247 00:22:01,280 --> 00:22:06,820 perhaps this was what he was suggesting to the public cognition itself. 248 00:22:07,400 --> 00:22:11,020 how difficult the score had been musical, how difficult it was. 249 00:22:11,260 --> 00:22:13,880 Here is a hidden difficulty, no said. 250 00:22:14,280 --> 00:22:18,080 Somehow in this there is a similarity with the theme of the film, 251 00:22:18,140 --> 00:22:23,160 which speaks precisely of the unexpressed and also the difficulty of our work 252 00:22:23,160 --> 00:22:25,940 here it remains below the lines, hidden.