00:00 (dramatic music)
00:02 (tires screeching)
00:08 I don't like to be an observer
00:11 looking distantly at something.
00:12 I want it to engage me and take me there.
00:14 (car engine roaring)
00:17 (dramatic music)
00:22 It's not simply the place, the furniture, the wardrobe,
00:28 what the streets look like, and all that detail,
00:31 which is terribly important,
00:32 but it's also period, accurate, attitude,
00:36 psychology, the absence of psychology.
00:39 He is very interested in internal life.
00:41 Internal life is 90% of all of his notes.
00:44 Doing the deep dive and trying to recreate
00:47 a cultural reality and a psychological reality.
00:50 Excuse me, please, my husband isn't here.
00:52 He's out, whoring.
00:54 (speaking in foreign language)
00:55 What's the stereotypical marriage
00:57 in bourgeois, regional, provincial modena, 1957?
01:01 What's the authority structure?
01:02 'Cause Enzo's irreverent.
01:04 He disputes authority and makes his own way.
01:07 If Anthony is looking for a scapegoat, then here I am.
01:11 That's different than somebody exercising free will
01:14 where there's no authority structure
01:15 and they don't have something to push against.
01:17 When we lose, you're a lynch mob.
01:19 No, no, no.
01:20 It's enough to make the Pope weep.
01:21 It's the value system.
01:22 It's all those things, and that's not work.
01:26 That's the adventure of it,
01:27 and I can't imagine any reason to do it any other way.
01:30 You've generated all of these unresolved things
01:35 that we don't know how anybody else can manage.
01:38 Michael is not only paying attention to our performances,
01:42 he's paying attention to the way the light is moving
01:44 in every single take, the way the camera operator
01:47 is conducting his business,
01:48 and there's so many different elements at play.
01:51 Get some people to walk through.
01:52 I don't see anybody.
01:53 It's all too static.
01:54 He's a conductor.
01:55 He's waiting for that perfect,
01:58 perfect symphony to come together.
02:01 His focus is, I think, challenging for a lot of people.
02:04 Let's go.
02:05 Because you have to just be with him
02:07 and just go on the ride,
02:09 and just expect the unexpected and be ready to go with it.
02:12 And I think that's a good artist,
02:15 is they take what's happening in front of them,
02:17 very much like what's going on in the car on the track,
02:20 and you adapt and you make it work for you.
02:24 Let's get that camera in.
02:25 Okay.
02:26 Let's get it shot.
02:27 For me, directing photography is a casting process.
02:31 I think we should try and get the oprah at the same time.
02:33 I wanted a particular kind of active lighting
02:36 as apparent in Caravaggio's paintings,
02:39 where the light seems to enter very dramatically,
02:42 and it's almost as if, accidentally,
02:44 the light is hitting a part of a leg, a hand.
02:48 Slice of light hits a face.
02:50 [singing in Italian]
02:53 Michael's command of the frame,
02:58 his use of the frame is such a signature of his,
03:01 and it's specifically tied to what's happening
03:03 dramatically in the scene between the characters.
03:06 Thank you.
03:08 The dramatic scenes have a certain stateliness
03:11 and uniformity within the color and the camera movements,
03:15 and that it pose to that,
03:17 every time there's a race car.
03:19 And the race cars are red, vibrant, savage.
03:24 We get in the cars, the camera's handheld,
03:29 and it's in the passenger seat next to the driver,
03:31 and you feel the road noise,
03:33 and you feel the dust on your face.
03:35 You could easily have made this a movie
03:38 that's just cars moving fast.
03:41 But I never feel like, in Michael's movie,
03:45 he sacrifices character for any kind of spectacle.
03:48 Ready, and roll face.
03:50 Michael gives his actors space
03:52 and is intelligent enough to not control that.
03:56 There is a shorthand, there's that respect.
03:59 When to give them something that will open them up
04:01 or when to kind of, you know, be invisible.
04:03 He's there holding your hand through that process.
04:06 He's thought of every angle.
04:08 We all know it's our deadly passion,
04:11 our terrible joy.
04:14 A millimeter will change everything for him.
04:17 That's good, that's good.
04:18 But not to say that he doesn't have
04:20 his own sense of improvisation himself.
04:22 He still is making up shots and following impulses.
04:25 He is, like, nonstop for, like, 16 hours a day.
04:28 And I know that when he goes home,
04:29 he keeps writing or editing.
04:32 And he's a machine.
04:33 And cut.
04:34 It's this.
04:35 All right, no deal.
04:36 (whooshing)
04:38 (whooshing)
04:41 (whooshing)
04:43 (whooshing)
04:45 [BLANK_AUDIO]
