: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.
:19:01
We used 35mm and 16mm Kodak
:19:02
as film
:19:04
and negative backing.
:19:09
During postproduction,
:19:13
we took great care of
of the printing process,
:19:17
as one usually does
when making a movie:
:19:21
You develop, make a print
and get the copy.
:19:25
The cinematographer
:19:29
works with a developing laboratory
:19:31
in order to otpimize
:19:36
the photographic potential
:19:40
that he wanted to emphasize.
:19:46
I was also making the costumes.
Before going to Leticia,
:19:51
we were in New York
to meet the actors
:19:56
who were to come with us
to Amazonia.