Original subtitles

The police genre has always been considered by

critics a fascist genre, because there was always

the policeman who, in the end, was doing

justice by himself.

Not always, but this often happened.

So, I personally suffered from these criticisms, also

because I felt absolutely anti-fascist, so there

was no desire inside me to create such

a violent character who did justice by himself.

It came out because it was the story,

it was the stories of that time, the

stories requested, it was the characters.

Then, cinema always reflects a historical period, there's

nothing to do.

So, back then, there was this desire to...

Now, if I say to do justice, it's

a bit of a kick in the foot,

because back then maybe the critics were right,

but they weren't so right-wing, or maybe

they were, or maybe one of my colleagues

was very happy that they were.

I don't know.

In the police genre, the audience often found

a liberation.

It's like...

It's like in the film Argento, which then,

in the end, gets a bit down, being

afraid.

Now, apart from Liberi, Armati e Pericolosi, which

was, in fact, directed by Scerbanenco, Di Leo

was a fan of Scerbanenco, I remember, and

so this beautiful screenplay came out that they

proposed to me, and I immediately had this

feeling with Di Leo, and it was a

curious story, and it was an interesting story.

Above all, then, interpreted, rightly, because he set

his character on fire very well, by Thomas

Millian, and Eleonora Giorgi.

Fernando Di Leo was an excellent screenwriter, an

excellent screenwriter, certainly a good director.

He was, at the time, like all of

us of that generation, of that kind of

commercial cinema, but not in a denigratory sense.

He was not so much loved by critics

at the time, then he was revalued a

lot, except for one or two films.

But, humanly, he was undoubtedly a person of

value.

Do you

know what the result is of the games

of his good boys with plastic guns?

Four dead men.

But, but why didn't you stop them?

Why?

You had to stop them, the commissioner, I,

I had warned him, I had come on

purpose.

Now I want to know where they got

those weapons, who's behind them and what other

blows they made.

Thomas Millian, I remember when I interpelled Thomas

Millian to play the protagonist of this book,

Dangerous Weapons, you had to struggle a little

to make him come back to be that

Thomas Millian who had been very successful with

his face, his hair, his physiognomy.

What was it?

Because he was in a period in which

he loved to disguise himself a lot.

He came from Imonnetza, he came from other

films in which he really tried to hide,

now, without digging up the reasons why, but

I had some meetings with him and he

didn't want to, he was almost retarded, I

said, but no, how?

I remember we were at his house, he

had a beautiful house, a room full of

mirrors.

I remember I pulled his hair back and

I said, look, look how well you are,

I don't see why you shouldn't play this

character coming back to be that person who

is there, who has played many films.

So he accepted this thing and then he

felt very good, and I felt good too,

in fact Thomas is a splendid actor, he

was really an actor perhaps not even so

much recognized for his talent.

And in this book, Armati, Pericolosi, well, nothing,

the work went on smoothly, I must say

a lot, but very calmly and in the

end he was happy and I was happy

too.

Friends, colleagues, so when they found out I

was making the film with Thomas, they told

me, look Romolo who is a difficult person,

who is a rude actor, who is impatient,

who is nervous, you will feel bad, I

felt very good because immediately a relationship of

mutual esteem I remember once we had to

shoot a scene where there was a helicopter

that was rising and checking the escape of

the three boys and so on and there

was Thomas who stayed in the car all

day waiting for the weather to get better

to shoot his scene so I want to

say I remember these things and I have

a lot of sympathy.

Eleonora Giorgi was right for the role, it

was, it went well.

I think it was Diego's debut in cinema

maybe because I remember I was looking for

a character who did a small thing but

of character very precise, very focused and then

I met Diego.

Then a curious episode because once I was

dubbing a film at the Fono Roma and

I met Diego and he told me that

Romolo wait, take out a small picture a

first shot of him back then with a

big hair cough sorry curly and so on

and he said I always take it with

me because it brought me luck.

Yes, yes, he was very nice.

I don't remember exactly how much this dangerous

armed affected me but the critics didn't like

it because they were films that according to

some critics were too they tended to free

violence.

In dangerous armed books there was this kind

of violence but not free because it was

motivated by these three young people that in

the end maybe due to the lack of

ideals due to the lack of goals to

reach etc.

they let themselves go to this kind of

life obtaining then also a pleasure for the

free violence they did operate it but the

critics didn't like these things the audience yes,

much more and then there was also how

to say this search for actors that interpreted

these characters I remember that in the film

the three young killers that if I remember

well were Patrizzi were Max Delis and Benjamin

Lev I can tell an episode quite curious

about these three one of them one day

Benjamin Lev didn't appear on the set because

he had been the night before he had

been detained by the police because they suspected

they would have confirmed this I don't know

that there was a drug trafficking consumption certainly

and trafficking also so I found myself a

good part of the film with one less

actor and I had to counteract it nobody

ever noticed it's something I'm telling you for

the first time but then I don't see

why hide these things everything went well I

wish for him for Benjamin that now he

is calm that he is a paid gentleman

that has nothing to do with justice but

then there was this thing so I remember

the desperation we stopped only a few days

and then we started shooting again I counteracted

Benjamin I have to say very well then

I inserted him in the editing and nobody

noticed anything the films

I shot I don't remember well maybe in

7 weeks but then the films lasted a

maximum of 8 even there were productions that

claimed from certain films that were shot in

5 weeks I refused I never wanted to

have such short times