:12:01
The two colours
that we kept returning to
:12:06
were a kind of a salmon
and a kind of lime.
:12:10
I don't know quite why
those colours became strong.
:12:25
Backstage, looking onto a painted...
:12:28
There's Beatrice.
:12:44
It's probably a good time
to talk about
:12:49
the music.
:12:51
I'd done American Gigolo
with Giorgio Moroder
:12:55
and this is Giorgio again.
:12:58
It's all that Munich-derived synth sound.
:13:04
Now, this is one of the earlier uses
of Steadicam.
:13:08
It was just becoming commonplace
at that time.
:13:16
The shot that is coming up...
:13:21
was done in reverse motion
:13:24
for a reason that you will see.
:13:28
Also, the way this corridor looks,
:13:31
the reason I'm stopping here
is purely for Mr Scarfiotti.
:13:35
Now, this shot is in reverse motion.
:13:38
He had to walk backwards to the door.
:13:42
Because otherwise he could not do this.
:13:48
The shot actually begins on her face
:13:53
and ends up with him
backing out of the door.
:13:59
You need a reverse-motion camera