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the films of Dario Argento are the most

Baroque most stylish most inventively

violent most dreamlike most nightmarish

and most haunting films that the italian

horror cinema has ever produced

Dario came along with a completely fresh

view at the latter end of the sixties

when one was really needed you changed

the face of horror fantasy any filmmaker

working in this genre will acknowledge

an influence from Dario Argento

I think that Dario can influence people

and has influenced directors with his

absolute courage at what he can do in

the screen no one gave him to take that

stuff Darien was probably more scared of

the films that he made then his audience

was I've seen the guy just shaking I'm

watching his own soul for me he's the

only director in Italy I admire for real

the only brave one oh no quality no

moralism no anything

it's art you just have to watch it and

feel it

he's an impressionist and it's it's just

it's fabulous his stuff is just fabulous

to watch Dario Argento was born in 1940

in Rome his mother was a photographer

his father produced films so from his

earliest days Dario was steeped in the

world of the Arts

yo pasado parte de la Vida I spent a lot

of time in my mother studios while she

photographed the famous vamps of the

time Nakia de unas penas in such it's

strange but I do have this affinity with

the female face miracle bull todra dog

named

darío also remembers his father's

influence Jeremy Piven de jambe know

academ when I was a child we always

talked about the cinema that window we

discussed it constantly quarantine

you're buried and during the fifties my

father would come home sit down at the

table and say these boys I'm afraid

they'd Italian cinemas in crisis this is

the true today but he was saying it in

the fifth degree C de Chile medallion

like many famous artists of the McCobb

young Dario had periods of illness when

his only companions were his imagination

and his dreams because the spit dose

school there are my assistants I share

there was a dark shadowy aspect to my

personality because I like to stay alone

I like to be alone and greed for a long

time

I lived in my own fantasy world created

from books and filled with stranger

dangers and I would read all the time

but they went children's books I read

Shakespeare I read 1001 nights full of

sex beauty let me run after this I read

the stories of Edgar Allan Poe which

were my first formative introduction we

have it all darío eagerly absorbed the

dark universe of Edgar Allan Poe he had

encountered one of the most powerful

influences on his later career

pose fevered hallucinatory visions were

not so far removed from the dreamlike

qualities of the movie screen each enum

at the middle now cuz I grounded

cinema was a big thing for Mira it meant

going into the dimension of dreams this

is what I discovered at the time and it

was marvelous

when I went to the cinema I lived in the

dimension of dreams and I was attracted

to the cinema completely an article like

a drug

Dario's passion for the cinema led to

his first job as a film critic and it

was during this period that his own

cinematic style evolved we have him is

also a vzv my firm is that always

visually striking us as a critic I liked

a sort of film with strong images

fetishes are very important because in

fact when I met Sergio Leone it was

maybe the first time in my life that I

met a person is also reasoned in terms

of images intimate imagined it seemed to

me like a fantastic thing new beautiful

I liked him very much for this and it

was Sergio Leone who gave Dario his

first opportunity to work on a film we

put the me because he believed in me at

that young age even though I was just

the critic and with great courage he

gave me the opportunity to write Once

Upon a Time in the West with the

Bernardo Bertolucci

I became aware of Dario's name when I

saw Once Upon a Time in the West this

Great Western I fell in love with and I

thought it was wonderful for a king of

there's a real big giant opera had some

pretty impressive credits on it

bertolucci and Dario Argento and Sergio

Leone and I said who is this Argento

character

after working with Leone Dario began

developing a script of his own his

ambition at this time was simply to

write live in Delhi dia hello

but if allah may do yogi cinahl altro

then I got the idea that I could do it

better myself at the time a new cinema

only in theory because I had been a

critic because however I thought I could

do a better job Rudi fishes so I asked

to be able to do this and it was very

difficult my father helped me a lot and

together this panel more than a year and

a half trying to find the finance for my

faith method the bird with the crystal

plumage Dario's first thriller also

turned out to be his first commercial

success when often a femaie or polygon

Diego leg when the film was finished I

talked with my colleagues saying this

film has been a huge hit so I must make

more Journal of films and everybody told

me yes yes I'd be crazy to stop making

them so I made other films trying to

explore my nightmares in the same dull

of style

the term giallo derives from the lurid

yellow paved paperback thrillers which

were popular at the time Mario Bava had

introduced them into films but Dario was

to add an operatic and graphic style

that was all his own Argento's

distinctive approach was strongly

evident in his next two films

cat-o'-nine-tails with Karl Malden and

James Franciscus

and for flies on gray velvet which

starred Michael Brandon it was

fascinating very different had a style

about it that was really compelling and

so I call my agent I say this guy knocks

on my door I don't know how he found

where I live I know this was up in the

hills this place and anyway he says but

what's I said Dario Argento I said

kidding Dario Argento is the most

popular director in Italy I said

seriously he said more money than

Fellini this guy's movies Izzy's

unbelievable there was however one small

problem to overcome so the next thing is

unclimbed Rome no scenario comes in he

looks at us oh no no there's a whole

conversation going on ago what's what's

going on what's wrong finally there was

a girl named Patti's here and she was

the translated script and she said your

eyes something wrong with my eyes what's

wrong with my eyes he said the wrong

color won't color what do you mean my

eyes are the wrong color

it's all my lighting they go from brown

to yellow the hazel they change colors

soul sudden daddy who's got a light then

he takes the light Nissan ah okay okay

now roll settled everything's okay now

we'll stay okay Brandon has more vivid

memories of the time he spent with Dario

very much he walks into the dining room

and he sees me eating this is more easy

Oh No

greedy yeah and he's screaming at how

like this but it's here what's going on

you get lunch yeah and in my country

actors eat you know we we all eat same

as everybody else you know but you have

a bathtub scene after we know is

canceled why you can see it's very bad

to take a bath after you eat mmm well

what's gonna happen Italy even after

Dario became a director in demand his

father continued producing his films

Italian family ties are strong

my father had experience he made by the

movies before Barry

so they loved each other of course

and when I joined them in some 1973 was

like making together an old family you

know the three of us together it was

very nice

nothing is better than that their first

collaboration as a family was a

historical drama the five days of Milan

it was nothing like the style that fans

had come to expect and it was not a

commercial success

profundo rosso came straight after the

five days of Milan and marked a return

to the style of Argento's earlier films

it was also the first of several

collaborations with actress Daria

Nickelodeon good evening hi everybody

okay we met is Airport I was going to

say America he was going to Africa and

he was unhappy with this woman I was

unhappy with this man our eyes you know

fixed as it happens the victim was

rather famous around here but then we

met again for the casting of the fungal

so deep red you get mean got see in here

know if he may have been a pensaba que

esta cuando la vie she when I was

shooting this film I thought this is

interesting work and I was trying all

sorts of human things really pushing the

boundaries between trailers and

Horiguchi only the latter shopping Sudan

I also came to know Daria Nicole Olli it

was our first game together and I

started a relationship with her I stayed

with this beautiful and important human

for many years probably without actually

a cheating all right it was a volatile

relationship and during their time

together Dario and Daria had a daughter

called Asya Daria's eldest daughter

Fiore from a previous marriage remembers

the two of them well I was the eldest so

I picked up more of the beer compared to

a loser

I've never seen in my life a couple

lovin so much one another I really fell

in love and in deep complete way they

were like one person I'm never gonna

know I've got to get out of inside locks

broken together to her sorry

she was the mules what supports her

nuttiest her all over because she just

makes you think about things

oh I should have warned you about that I

think it was a very good relationship

when it was good with him

even if it was I don't know they were

fighting a lot but was creative and

sometimes you need this pain and this

night - to be alive there's no question

in my mind that Derry Nicole OD like

foot area on a completely new track I

mean if had not been for her in their

relationship at that particular time we

would not get Suspiria

Suspiria was just a whole other thing

instead of being a murder mystery it's a

supernatural story it's a fairy tale

really a haunted kind of fairy tale

Suspiria was the opening film of a still

unfinished trilogy about a coven of

mysterious evil figures known as the

three mothers

Suspiria is the all-time one of the

all-time great horror movies ever made

it's terrifying it's like it's like a

bad dream it's like a nightmare it's

like being trapped in tonight the part

of the movie that gets me so much is the

very beginning which opens so strangely

and simply but all of a sudden I'm in

this airport walking with this girl out

into this rainstorm she's trying to

catch a taxi you see this fountains

water cascading and all of a sudden I'm

very disturbed by what I'm looking at I

don't know why and that movie is an

incredible work

working with Dario and making this

extraordinary movie with all its color

and its vitality and its and its

groundbreaking

artistry I knew that what he was doing

was beautiful and very interesting but I

didn't know how groundbreaking it is

when you spend eleven hours with maggots

in your hair you're better than your to

the horror of it so when I saw it I

didn't have the shocked response to it

the an ordinary audience member would of

course cuz I had lived it

I put Suspiria in my top three best

horror movies of all time I think

Suspiria has got an attitude and a feel

and a sound to it that is a true

nightmare it's a real

Suspiria was the second of our gen tous

films with a soundtrack composed and

performed by the italian rock group

gobbling it's a stunning that simple

little gnarly line over and over again

to create that much tension what

impressed me was the quality of the

soundtrack from Suspiria was was its

absolute simplicity but its

effectiveness in other words had it been

more complicated had it been the John

Williams Mickey Mouse kind of score that

you hear all the time today that movie

wouldn't have been half as scary the

scores that goblin did for him Francis

Perea have got to be among the most

amazing scores ever done for a horror

movie they are rooted in progressive

rock basically but they are bizarre they

incorporate not only musical instruments

but also wines and screams and hisses

and whispers and they are so creepy

get a little Stockhausen background to

it a little bit and it's got a little

bit of rock involved if you were gonna

ask me what how to classify it I

wouldn't be able to classify what it was

really what kind of music it was but

accept it it sounds European

but when you put it in the scene where

the blind guy with his dog is walking

through the plaza the music's getting

louder a louder and louder the dog turns

and rips is throwed out for no apparent

reason that music becomes very effective

normally I go home and I write the the

themes then I bring him demos or or

incoming student and here what I'm doing

sometimes he don't like something we

change yeah we can work together but

normally I when I'm in studio I I work

watching the film and I compose just

what-what I think then the way I like to

and if you like it I play in and I gave

him the the soundtrack finish much of

the music for Suspiria was composed

before the film was shot and that in

order to get everybody into the right

terrorized mood for the scenes that he

was going to shoot argenta would put up

put this music on and then crank it up

to 11 and everybody would be shaking in

their boots it's no wonder that they all

look like they're on the verge of a

nervous breakdown throughout that film

the music was equally distinctive in

Argento's gothic fantasy inferno this

time rock legend Keith Emerson was the

composer Dario gave me free license to

do whatever I wanted with the music and

I think in hindsight when I look back at

it what the music I wrote was a

juxtaposition to what was really

occurring on the screen

when I was composing it my sons were

like aged between eleven I suppose and

seven years old and I had to keep them

out of my music room because it they

wanted to see what daddy was writing and

every time they came in the music room

had it should know you can't watch this

you'll have nightmares Dario

but say you've got to use this piece of

Verdi I said well if I'm going to do a

version of this Ferdie piece I'm going

to do it my way so I actually did it in

five four and if you've ever been in an

Italian taxi and being bumped around

five four is a very civil time signature

did they did they did they did they do

daily day-to-day did

one-two-three-four-five

one-two-three-four-five

Ranas Verdi did it was they did they do

dodo

I don't sing very well so as well as

pushing the boundaries of moving music

Argento also pushed the boundaries of

moving violence

when you talk about violence in the

Italian cinema I think you have to talk

about violence and Italian art generally

and violence particularly in Opera which

is the Italian national art if you print

a plot synopsis even a Rigoletto it's

it's grisly its grim its horrifying

you might have some trouble getting that

movie past the MPAA it does seem to be

part of the way Italian artists often

express themselves there's a great

extravagance in what they do that

extends to extravagant operatic violence

and operatic is a word that people often

use when they talk about our Gentiles

films the fact that he made a film

called opera I think is in no way

coincidental

opera has one of the most strongest

central ideas of a girl having needles

put under her eyes so she can't close

and so she has to look at scenes of

abject horror this was always his

metaphor of his sin anyway and it's like

Dario saying I actually direct these

scenes of violence for you to watch them

I do not want you to look away I have a

point to say

what made REO stand apart is that he

really is a skilled craftsman that he's

able to create a film that is so

suspenseful and so scary and that this

becomes sort of the icing on the cake so

to speak is when you get to the you know

to the to that violent punctuation a

frequent criticism of Argento's work is

that the violence in his films is

directed mainly against women I heard

him saying that women are much more fun

to kill women are much more curious

women are much more interesting and in a

more profound way there's something with

his mother - that's not very clear to me

and I don't know what my grandmother did

to him but he always saw her as a

monster and so he tries to exercise that

- his films his orgy but imagine if he

male I'm not a misogynist when I imagine

my fans I don't imagine women tortured

by men

maybe if he measures all my films there

are men and women who are cut to pieces

all of the leading actors the heroes in

his movies are women so it's difficult

to pin him with the misogynistic label

per se I would I think that he does

something that is extremely disturbing

to audiences and that he couples violent

death with almost sexual beauty so that

the deaths have a sexuality too and

that's extremely disturbing to me

I as a woman probably should be deeply

offended by that and I'm not I don't

feel that these movies are a blueprint

for murderers of the world

I don't feel truly that they represent

any deep-rooted misogyny on the part of

the director I think that murder is his

subject murder is his beat it's what

he's interested in is what he does

I don't feel he wants other people to do

many people began to believe that Dario

and daria's relationship was being

charted through their films in profundo

Rosso for example I mean she's very

happy-go-lucky she's even singing in a

scene and then of course in Inferno she

thought she gets murdered in a

particularly vicious way then of course

it goes all the way down from there from

tenebrous at the end she's just

screaming and screaming and for long as

she looked terrible and she's like

raising to bits man chimpanzee then in

Opera she's actually looking through a

keyhole and the bullet goes through her

head and she flies through the air I

mean no wonder she hasn't wanted to work

with Darian again and he's thought more

and more vicious ways of killing her off

because I think it actually is a

symbolic of their relationship I just

don't know what to say about that but I

do hope that my significant other never

puts me in a film in which he fires a

bullet through my eyeball through a

keyhole it's kind of creepy

our Gen tous films seem to come from a

much deeper place than most a fantastic

world of the subconscious and of Dreams

where logical narrative conventions take

second place to a more profound

emotional truth

Dario told me he has dreams or

nightmares and that's how the story

comes into being he would write down the

nightmare and it would become the script

I think that in Argento's films the

narrative usually doesn't matter a whole

lot they create this kind of dreamlike

space that really it's like it's like

being plunged into an incredibly

complicated fascinating nightmare and

it's somebody else it's like there

knowing Dario as I do I think that that

his films come out in his mind the idea

is behind these images and the way he

looks at things comes out of the story

that he tells over and over again

there was a hallway at the back of his

house and when he had to go to sleep at

night for whatever reason when he would

walk there he would imagine these things

behind his door lines on this hallway

and by the time he got to his bruise and

complete terror I think when Dario gets

an idea he is basically trying to

communicate a kind of either kind of

horror or an allegory about certain

human behavior I don't think he's the

kind of guy that dots the eyes and

crosses the t's as far as story or

character arc I don't think he

particularly cares but he's more like

again then go somebody would just says

well here's the way I want this to be

and this is the world you know take from

it what you will

darío has also produced and presented

programs for italian television

including a series appropriately

entitled giallo these appearances

boosted the public perception of dario

is an Italian Alfred Hitchcock our

gentle was often referred to as the

Italian Hitchcock or a garlic flavored

Hitchcock and I always thought there was

a bizarre and spurious comparison

because his films are constructed so

anti Hitchcock Lee a Hitchcock is the

most linear and controlled of directors

who has probably ever worked in the

medium and Argento is the least linear I

think whose work has ever achieved wide

distribution and any kind of widespread

following no Daria does something

entirely different than Hitchcock did

only because Dario deals with that that

kind of genre often of a the crime

suspense mystery a guy in the black

gloves murder genre people associate

that with with Hitchcock but he isn't

really at all he's he's actually far

away from that kind of cold and precise

look at things that Hitchcock was was

always doing he's though he's a very far

away from that aloof kind of feeling you

get with a Hitchcock movie Daria was

very very different indeed much closer

to the Surrealists Louie Boone well

let's say then Hitchcock said a molto

contento de de ferran a career legume a

yatra FATA pair I would love to have a

similar career of each case of Latino

but I'm different from him I'm Latin and

so my films are passionate and thirty

years old the world is a very different

place from when I started to make films

Raphael

Dario Argento has written and produced

films for other directors too

he helped George Romero the

groundbreaking creator at Night of the

Living Dead to finance and produce his

sequel Dawn of the Dead

Lincoln tada New York cuidado con -

Ruben in Italia I met him in New York

and then he came to Italy and he stayed

in a beautiful house near the Coliseum

he wrote the film and then I stayed with

him while I did some shooters of the

whirlwind it was a beautiful

relationship and it was the beginning of

our collaboration police report

I wound up sitting in Rome for a month

writing the final script the shooting

script there which is an experience you

know because it was all just pasta and

caprese salad 's and going out with

Dario at night big tables 20 people all

multilingual people and I'm sitting

there like this guy from Pittsburgh with

his idea but people dead people that

walk the commercial success of dawn of

the dead brought Argento and Romero

together again their next project

involved two stories from Edgar Allan

Poe Dario and George would Co direct I

hadn't heard from Dario for a number of

years no something called me and said

George I am Daario and Wow

so we had a great chat and he said he

wanted to do a thing with Poe's stories

he would do one and then I would do one

what's his plan and they would be an

hour each or 4050 minutes each and we

just had a ball like a bunch of kids

playing with electric trains you know I

think it's fun little film I think

that's where he met Tom Savini for the

first time we're work with him for the

first time Dario Argento

diyos a star in his own right god

Suspiria Tenebrae though he's a volcano

of the mind we would sit there and you

know create this stuff you know just

thousands of ideas and he was not

picking the best one and you know he

doesn't speak very much English but we

could talk for hours with sign language

and you know charade gestures and things

like that he sees he's just fun Tom

Savini has always been fascinated by the

mechanics of death his time in the Army

taught him valuable lessons for his

later career the jaw is always slack

maybe when I slightly open and closed

sometimes they thought with smiles on

their faces you know so and that's what

I did in dario's a movie trauma

those heads weren't symmetrical they are

different when I would be half crows or

they'd be a smile but always the jaw was

like it's always my ideal chair to put

the real head in as much a pot as

possible like we're doing a cutthroat

tonight because real head can act

the Brad Dourif head was the back

there's a scene in there where her head

falls on the elevator shaft and lands on

a spike he just kind of slides down

there after it lands well

Dario did that in Reverse we actually

pulled the head up on the pole a bit and

then took it right off the pole so

reverse will go cheek and then slide the

Iowas idea Argento and Savini dreamt up

many bizarre methods of inflicting set

the new somatic was also from trauma

imagining Dario was broken English

describing how this machine that you

will put on somebody's head would be a

garage that would tighten and take off

their head he left it up to us and we

just got a you know electric screwdriver

and men got sockets electric sockets and

made something very with with with a

bunch of battery connections on it so it

would have the power and the grant wire

you know and it really worked you'd

squeeze it and they would come in fresh

in Troma a thriller which are gentle

also directed in the States

it was actress Piper Laurie's turn to

receive the Savini treatment

you know the most difficult part of that

is what I had to do before I even left

Los Angeles and go to one of those

special effects places where they put

plaster over you and I'd done it once a

few years before and thought I was going

to die because of claustrophobia they do

six straws in your nose but still it was

very difficult for me the actual

shooting of the beheading and all the

frolicking afterwards uh was fascinating

I'd never done anything like that

Daria wondered ahead to roll across the

floor and say Nicholas every time its

mouth rolled toward the camera I was

seated on a revolving stool and the if

somebody would spin me around on it and

I'd go whirling around so that they get

a shot of the head spinning of course it

was it was very close so you couldn't

see that what was really going on we got

the floor put it behind her on wheels so

they would will the floor behind her as

she spun on the chair and they turned

the camera upside down featuring just

below the appliance and the net and she

would go

I mean it's not often that you get

beheaded and then get lines to say

afterwards Magento's imagination and

technical ingenuity not just confined to

killing his characters off the shot that

blew me away was the shot in Opera which

tracks the bird around the Opera House I

still don't know how they did it he

tried to explain it I didn't quite

understand I guess I'm sort of a crane

from the ceiling or something but what

an amazing shot that I've never seen a

shot like that crows will one thing

1987's creepers required special effects

with insects too and they all wanted

something which look at the real because

he did not like special visual effects

he wants everything to look strictly

real I shot the close-ups on the inset

against the windows but I said there is

something missing there is a long shot

missing a long shot of millions of light

coming to the house so we got the tag

with were there we had the coffee we put

the coffee into the tank and filmed it

with a slow-motion camera it came out it

was very good

when now you saw it on the screen II was

surprised kiss me and I said that's

wonderful despite the variety of his

work Argento always returns to the

mechanics of dead

Harvey Keitel in a fantasy dream

sequence in this medieval flashback is

impaled and the state comes out of his

mouth

and it wasn't just audiences who were

traumatized by Dario's love of graphic

special effects we've got a letter from

Harvey Keitel's attorney Harvey Keitel

must never be in the same room with the

fake head of Harvey Keitel he must never

see a photograph of the fake head the

head must never be shown to him he must

never be anywhere near the fake head I

asked him what was this thing with the

fake head and he said oh it would just

give me the creeps he didn't want to see

it he want to be around this fake head

of him you know Harvey Keitel

here in the industrial city of Turin the

organized chaos of a film shoot begins

Dario Argento master of horror is busy

at work on his 15th film

for a solitary dreamer like Dario

turning those dreams into reality is a

frustrating ordeal mr. gay quando the

moment I hate most when I'm making a

film is when I'm actually shooting for

me this is the most irritating the most

annoying but I thought the most

embarrassing such a bad time the kitchen

with all my mineral water came their

universe una centipede wada SLS hola soy

dari what about why do I hide shooting I

don't feel comfortable when I'm shooting

because I'm a natural owner and I'm

usually a piece alone when a film it's

crowded people talk to me ask me

questions and this is annoying but I

don't let people see this and I hope to

appear enthusiastic on the set though I

actually hate it we went to the

geography Argento is sometimes said to

show far more interest in the look of

his films than in the performances of

his cast what the space what Dory been

saying with the oyster beds assistant I

think some actors are very egotistical

they only think about themselves without

thinking that their performances are

only part of the thing they forget about

the atmosphere the architecture the

lighting everything else they only think

about themselves this is very hard for

me to come to terms with Estacio so

quick putt rope posted oboe Sansa do a

suger are a

lately my father has changed very much

with actors I think it was a thing with

my mother that made him hate actors

probably worked with some people who

were not very nice and I don't know so

he was when I was little he was always

telling me actors or [ __ ] actor animals

like Hitchcock said actors are beasts I

thought to myself put and I was a little

girl and I was already acting I told him

once but I am an actress I said no

you're not usually Dario just wanted to

use someone like moving around the

screen he wants them to act he's that's

what he's paid and to do get on with it

he just wants to sort of move his camera

around them do these fabulous shots you

know go over them go under them go round

them that's what he wants to do he's

more interested in that he cares less

about performance then about just the

you know the position in the frame and

as long as it's appropriate the

expression is appropriately dramatic

whatever I think that he would you know

I think that he would probably have a

good time working with

computer-generated actors

it's surprising to hear that diode

doesn't like actors because I had such a

shearing working experience with him he

was like a child in his excitement he

just hi fantastic fantastic

I mean guy wait 88 pounds you know he it

was thin he was just he would just throw

his buy into the air you know he he just

he just loved it all he was the kind of

director who knows what an actor has to

offer and uses the actors particulars

and just gently guides him or her rather

than trying to impose his idea of how a

performance precisely should be so he I

mean in other words I think he brought

up the best in me which is always I

think what a good director can do with

an actor I think my father hates actors

that are there like um when you have to

speak to me I want attention and one

more my father sometimes shows the

actors most of the time what he wants

through the movements of his camera and

you have to be smart enough to

appreciate that and give your best and

direct yourself you know be just being

not direct

our Argento has now acted in several of

her father's films through our Xia Dario

is actually reliving his relationship

with Tara in many ways they look alike

I think Arthur is as good of an actress

as her mother is and I think through

that they're actually exploring

everything that I think Dario would have

wanted to have done with Darren had

their relationship lasted the proof pero

con mio figlio zku Beto la mia Musa lay

when I worked with my daughter as iam I

discovered that the Muse in her it's a

privilege to be able to work with the

wrong actress daughter without rivalries

it's like a crystal ball the usual

antagonisms between father and daughter

didn't happen in our case because we

have become friends colleagues their

professional relationship was put to the

test when father and daughter worked

together on trauma I was so scared and

the most painful thing was when I had to

take my bra off in the scene and I had

to be breast naked and it was a big

issue for me and a big problem

especially in front of my father

it's just been lately that I've been

thinking about how actually bizarre it

is that my father has killed my mother

several times and my sister wants and

never killed me once but he had me raped

a few times and it's really bizarre if

you think about it I sincerely don't

want to because I'm scared that I'm

going to reveal something that is better

to be kept like this he needs somebody a

family and character to represent his

curiosity of life and danger Mosley

some way sometimes I thought that he

gave me life only to have a muse only to

have somebody an actress for his films

and sometimes I think that but some

people think that Dario might have had

even more success if he'd taken a

familiar route and moved to the United

States I bet it know he's Italian

I do as you know he's completed Italian

and maybe it was even proud to do

business it to be Italian you know

Illinois your akhirah relatives it's

better to stay in your country and make

it your movie from your country I go to

Cora

Oh start that and then present your

talent to everybody else

why make movies from other countries and

making the same things it doesn't have

any sense

I think that is America movie looked too

much American I like his Italian movies

because they have different to style a

different flavor which is American movie

do not I do not have so I think his

right place is Italy you know it makes

Italy international he makes Italy

American too because he has a very

personal and very special way to look at

it to film it I think he's probably been

given a certain freedom to follow his

own vision that many American directors

certainly don't have because they're

answering to bottom line executives who

have a crowd of accountants sitting

behind them saying I think it's very

nice this director has an artistic

vision but if we don't have a body every

15 minutes nobody's going to care about

this movie in a career that has spanned

almost 40 years

Argento has become justly renowned for

his unique visual style his use of

camera and his fluidity of his shots I

think have been very influential to many

filmmakers even in some of his lesser

films I think some of the people will

say that look you know you looking at a

guy who really knows how to move the

camera knows how to create you know some

creative shots and creative angles and

things like that he would look at

something and he'd think about it and

then heels and go machina mono machina

mono

and they'd bring him the hand camera

Cosi Cosi cuz he knows he knew going

he'd wanted you jump up on top of a sofa

now I can obviously [ __ ] with the movie

goes in and he'd walk on the back of the

sofa and he'd jump up onto a table

Cosi Cosi and then he'd run along like

this and then he'd jump up on the stairs

kuzhi kuzhi like this like this like

this and then hold it above like this to

the door and out and walk back in and

the entire crew is standing there like

this and he go

fine so they deliver and everything

you're running around like not knowing

what to do

two days later we're ready to shoot this

sequence and they have a cameraman tie

it on a pole attached to a dolly four

guys go like this lifting the cameraman

up on a on a harness that he's got

holding the camera into the air then

they run along with this track they

built way up the side of a room so that

it could go over our heads and beat us

to the door and we go out he goes yes

y'all he did some really radical stuff

editing wise to that people don't really

give him credit for I mean you know from

subjective points of view to something

tight close-ups this had never been done

and it gave an immediacy to the films

that followed them when you see John for

the movies even if you see when it's

already begun you don't know who made

this movie but you see the style you

know you see the way you're doing the

shot you know it's it's very personal

and we Dario is the same it's a very

personal way of you making and I like it

Argento is now recognized all over the

world to countless fans the name Argento

has become almost a brand

he's pretty famous in Italy with young

people with kids he and I were over

there at the turn Film Festival and we

went out to an Egyptian museum to look

at mummies

I guess reliving our old Hammer horror

film that his and he was mobbed by by

his schoolkids mom I knew who he was and

they were yelling and screaming for it

so he's very popular with a young

generation because there's no one else

doing what he did

anymore that whole his whole genre is

kind of gone from him when you go to

Japan my father is famous like any

thought he almost it's beautiful to see

that he he reached people all over the

world he always say that he tell a story

and and it's great to to say that the

story tells his um interesting form

everybody in the world

I'm very proud of of the successful

valued cousin

when I met him I really loved his cinema

I really loved his imagination xscape

ability Alba a great technical skill you

know and so this remains I can't cancel

this and this he deserves the success he

has around the world but Tim is arriving

he's great to talk with to get drunk

with to go out with we're friends um we

have a completely different way of

looking at life in the world completely

different kind of life and yet we both

understand the horror movie and love it

it's fun it's fun being with him yes or

no was goes oh I'm proud and I'm happy

to have my Delta Lyrae first oh it was

interesting to say what I wanted to say

and I was lucky to be able to do it in

my own way I am very figure out the one

thing I worked in total freedom and

nobody could tell me what to answer

praval if I hadn't had this my films of

course would have been very different

for tuna the Patera Kunta same thing the

dairy has always had his always just

really I don't know how fathers got on

when this works and it works for me and

therefore I hope it works for you and I

don't care if it doesn't which is a

terrific attribute than he has I mean he

just sort of lays it out there I mean he

cooks up cooks of stew and you don't

like the way it tastes tough

I had finished the film I was in the

hotel packing my bag

knock on the door skoozie

daddy I want you he forgot one shot

what shot knows I'm sitting in the car

we're driving further than we've ever

driven to any location not picking I

remember it is Willy going and it's

getting dark and we're driving we're

driving the next thing is guys points at

his big door it's almost like a castle

so I get out of the car he drives away

I'm standing there in the pitch black

I'm thinking what's going on here so I

go when I bang on the door and I swear

to you a guy with a lantern hems s is a

door

he's closed and he walks off I was in

pitch black you know and I saw I've had

I got keep up behind him turning all

these corners I'm thinking I am living a

diary or a gentle movie here and I'm

getting nervous and I'm thinking I don't

know what's going on here

maybe they're gonna kill me

then I turn it from all of a sudden is a

big shout and fountains light up and a

whole band begins to play an orchestra

and it was a farewell party that was the

location Dara chose to have the party it

was a fantastic time

you