:35:00
Insisting too much on this
with the music
:35:03
would only have spoiled everything.
:35:07
Violence can be appreciated if
it comes with softness,
:35:11
with a serene music
which softens a little
:35:15
these scenes.
:35:19
These scenes are more valuable,
and more violent too.
:35:24
If I had to compose
a dissonant music
:35:27
for these violents sequences,
:35:30
I'd spoil and ruin
the director's work.
:35:35
DEODATO, KING OF THE INDIANS
:35:40
When The Blair Witch Project
was out,
:35:44
I didn't really follow its story
:35:49
on TV or in the newspapers.
:35:52
I eventually did when
a radio journalist from Milano
:35:56
asked me
:35:59
if I knew the movie.
:36:04
After a showing at the cinema,
:36:07
a TV team asked some youths
:36:12
who told them: 'This movie
has already been made 20 years ago'
:36:16
'by our director
Ruggero Deodato.'
:36:19
From then on, I realized
its existence.
:36:23
I went to see it.
And to be honest,
:36:26
it cannot be compared to mine,
:36:30
as a spectacle.
:36:32
Yet, what was similar was
the way the film was split.
:36:38
It copied everything from
our movie.
:36:43
Instead of a crocodile,
for instance,
:36:48
you could see a tree trunk
floating.
:36:53
Instead of the lost woman,
there was
:36:56
a tree set up in a particular way.
:36:59
It totally looked like
how our movie was divided.