:17:02
by this passion for novelty,
:17:07
by the wish to make a movie
:17:09
that goes off the beaten track.
:17:15
I was really interested
:17:18
in the possiblility of making
:17:22
the images of the second half
of the movie credible.
:17:27
We made it thanks to the skills
of our camera operator
:17:31
who shot the scenes,
camera in hand.
:17:35
The imperfections helped
:17:39
to made the images we shot
credible.
:17:44
When I think about it,
:17:47
I lived in the hope
:17:50
of carrying our project through.
:17:55
There are two filmic languages:
the classical language
:17:59
of the structure of the film
:18:01
and the neo-hyperrealistic language,
which is more spectacular,
:18:05
with the camera in situation.
:18:08
This one is more 'snuff-movie'
:18:13
with a different film format,
like 16 mm.
:18:17
The mix of the two langages
makes the movie very interesting.
:18:21
There's a lot of ...
Remember this movie by Soderbergh,
:18:26
a few years ago
:18:28
with Benicio del Toro?
:18:30
He used a volontarily aged photo.
:18:32
The image was entirely shot
with the camera in hand.
:18:36
These things weren't
so common before.
:18:38
In that, Deodato really had...
:18:41
The audience is often incapable
:18:44
of any semiotic analysis of langage.
:18:47
But it reaches
the emotional level.
:18:50
When a director tells a story,
:18:53
he does it from instinct
and touches collective imagination.