Good afternoon. Welcome on the fifth day of Crossing Europe. Welcome on the fifth day of Crossing Europe. And it's a tradition that on the Saturday afternoon, we dedicate some time to our special tribute guests. And also this year we have followed this tradition and we are very happy to welcome all of you. And also on the live stream to be here at the UCADEC and to explore new cinematic worlds together with us. Yeah, our tribute guests this year are Silvia Luzzi and Luca Bellino. And we'd like to thank especially the University of Art Linz, Kunstuniversität Linz, because they support this talk for many years now and this year again as well. And we are looking forward to deep dive into the work of the tribute guests. And we have a wonderful host once again, which is Neil Young, a long-term friend of the festival and film professional. Yeah, looking forward to your questions. You already can, if you want to, take your seat. Looking forward to your questions. You already can, if you want to, take your seat. And after the session, there will be the possibility to ask questions. So be prepared. And also upcoming screenings of our tribute guests are coming to today and tomorrow. Yeah, so you can still enjoy some of their work at the cinema. Have a good time, have a great talk, and please give a warm welcome to our guests. Silvia Luzzi and Luca Bellino from Italy. Thank you very much. So, thank you Sabina and Cathy. Thank you to our audience for joining us uh today and thank you grazie mille to silvia luci and luca bellino for being our guests in vienna this week uh we have shown uh already four films um laminacia from 2008 four long films and two short films. The next long film, On the Art of War, 2012, Crater from 2017, and Luce from 2024, the most recent film. And Luce is showing tonight at 8.45 in Movie 3, which is a small room. I think it's going to be full. So maybe start by saying, I know you've taken the chance to sort of see some of the films and to talk about the films again. And this was something that I mentioned in the opening ceremony. Now you look back at these, the four long films and the two short films, it's not your entire career by any means, but it's most of it. Does it now seem to have a kind of a shape that it maybe didn't feel it seemed to have when you were making them? Or did you always feel that you were on a kind of a shape that it maybe didn't seem to have when you were making them? Or did you always feel that you were on a kind of path through images, through cinema? I just want to thank you very much to be here and to thank you, Catherine and Sabine, to give us this honor and this opportunity. We love this festival so much. So thank you very much. And thank you, Neil. You are with us always. I try. I try. Yes, we thought. Yes, we thought, so first of all, there were some movies that I didn't remember so well. For example, The Threat was our first documentary of 2008. So it was another world, artistic world for us. And I rewatched it here. And then I rewatched also on The Art of War and then I watched the short movie and then I spoke about Crater and Luce and yes, I felt many things in common and I felt our part if you want also an artistic role in our way and it was clear for us that also since the threat that was a documentary made by television so very different from the others there was a seed uh that then we will develop uh in our world that this the seed is the fight against the power the role of the power and the the imagine the role of the imagine uh the use of some tools. And so for me, it was like an immersion in our world, in our life, probably in our emotion, because each movie we did, it was a life experience, very long, and sometimes very hard and sometimes funny, sometimes not. But this was the occasion also to understand the reaction of the audience to movies of 20 years ago. And this was strange. And were you surprised by the reactions of the audience? And you were happy with the reactions, I hope? Yeah, yeah, yeah. I'm very happy. We are very happy. But we noticed a strong reaction with, for example, On the Art of Work, A strong reaction with, for example, On the Art of Work. Quite political kind of reaction about the movie of Venezuela, of The Threat. And unusual, very empathic reaction to Princess, the short movie, and rather for example and a strange reaction with uh some where we have to go with the with lucha so but this was incredible our intention so um i i have to say yes we we discover some some new new kind to watch our movie also. It's been a very good tribute to be able to do because it's compact and people can see almost everything in a short time. Because it's four long films in 16 years, which is not a huge number of films. Is that because the nature of the way you make films requires the time? Or would you have liked to have done many more films quickly and have this huge filmography? Is that always going to be the case that the painstaking nature of your work and getting the intimacy and the trust of the people requires time? It's something that for us was born with documentaries. Documentaries need time, need years. But also with the Fisher film, we continue to use the same method. So I hope that for the next one, we don't have to wait six or seven years. But we love the pre-production time. So maybe it's the moment that we prefer. We prefer to write, rewrite, continue writing during the casting, the choosing of locations, etc. And it takes time. But we love it. So we are happy. We are less happy during the shooting, maybe. We come back to be happy during the editing and so i don't know but when we make films we don't we we are totally inside the story we are with people and we don't think to do something for the present instead maybe it's no sense have no meaning to watch it now after 20 years. We try to do something that can be watched without time. So our intention is to live the present, to build something without time. And we need time to do that. Time is a key word. And passions. And you mentioned the editing and the process there. And obviously the two of you make the films together. It's directed by, written by, edited by. Is everything done like equal 50-50? What is the nature of your collaboration? And does it change with each film? Or do you have the same, keep the same approach? It was, of course we grow up you know during the the making of films but it was clear since the beginning that it was 50 50 in the meaning that the writing it it it since 20 years more or less now now, that we work together. And now we write together and we don't know who writes what. Usually we really don't know, at least at the end, who writes what. Nobody knows. And also we arrived in a point of shooting that we make like a dance together when we shoot and we don't use the art director of photography. But also when we use a director of photography, we are not in the monitor because we are over there on set with physically with the actors. with the actors and maybe something changed with the last one that was a movie with a big crew more big than the others because rather the crew were with who so it's not difficult to have a big crew more big crew and in that case it was more specific because maybe I'm more empathic if you want so with the actors I work more with them and Luca is very technical so he works more on the technical part but then everything is mixed. But in the years, we balance very well. The moment of the editing is the key moment because in the editing we edit, so we rewrite together, of course, the movie. And also in the post-production because post-production with sound, above all with sound, since the threat. So since 2008, the sound is a key point of our artistic choice. And we wrote with sound. So in our screenplay, our screenplay is written with already with sound in sign and very often with the sound designer and we have all our works at the same sign designer it's called stefano grosso we start with him and after he arrived to have also oscar nominations and so but we love to write with the sound designer it's the key point of our job uh is that something that other filmmakers do i i don't know of any other filmmaker that would write with the sound designer kind of as part of that process. Did you just devise this on your own? Did somebody tell you this was a good way of doing it? Maybe it's a need. We need to do that because we don't use, for example, scene of transfers. So we cut inside the scripts and to do that we need sound not only actions so it's it's natural so we do that and we find the right person to do that maybe other filmmakers i don't i don't know we we you know sound is a delicate part because you think it's often, you think it's a part of post-production, not a pre-production, either, not a script. So I don't know, but there are many filmmakers that give importance to the sound scenes, the script, and you can see when you watch the movie, if you pay attention to the sound, Sean Baker is one of them, for example. in Brise, sometimes he did, Stéphane Brise, but it's a need for us, because also for our direction style, as Luca said, for sure. And in the editing process, for example, Crater or Luce, the last two long films, roughly how long do you then spend editing? I get the impression this is you spend longer in the editing than you do shooting, obviously, I think. We shoot not so much. We edit during the shooting, first of all so we are very lucky because we can do it we decide to do it when we shoot so now the feature film we work maybe 24 hours per day because we have eight or ten hours of shooting and during the night we ate it immediately and so when we arrive in the editing room the first rough of crudder was made in two weeks because we had the idea very the idea is very very clear and so after maybe we cut 10 minutes after one month of nothing for lucia was very different because we had of course the track of the voice of the father but we rewrite after the editing because we record after the editing the final voice of the father. So it took more time and also for the sound design. The sound design of Lucia took six months. It's very difficult and it was very difficult because our intention is to use the dolby stereo system in all these potentials its potentials and it's strange because for a lot of people that is not that is used to watch film where all the voices are on the central think that there is some problems so it's strange but we try to do something that okay can be from starting from roma of quaron uh it's quite known by the audience but not all the audience the audience is the weight for the that the voices are in the center you have to hear everything no but we want to create that the same feelings of the main character in close up and she can't hear the voices directly but all around her and to build this system of voices it took six months yes also for for clutter for example, in terms of scenes, we always have very few scenes in all the movies. Clutter has like 39 and also Luce is like 38 or 36 scenes. But the sound production was important in Crater because we rebuilt all the environment because you don't see this Crater. You don't see this world. So we rebuilt by sound. And in Luce, because you have to audience more and more, of course, than Crater, because the audience has to feel like without air. Without the audience. And it was like quite a torture and he has to feel the the very disturbed the disturbing sound of steel of the factory and of the fatigue and this was important for uh for us to to to give an impact so strong by sound. So sound is part of the narrative structure in that meaning. I'd like to go back to the beginning of your lives. You were both born in the late 70s. Silvia, you were born in Ascoli Pacificeno, which is a bit to the north of Rome and over the other side, and Lucia from Salerno, which is about the same distance to the south of Rome. When I do talks, I try to do research on the people I'm doing, and I couldn't find much about your lives before. La minaccia, there is very little. I was even searching in Italian. I was trying to find, you know, Intervista con, and there wasn't very much there. So obviously you prefer the work to speak for itself, but maybe could you just give us a little information about what happened between the late 70s and 2008? and the classic question how did you come together we we have a very different uh path if you if you want because uh okay we we study and we lived in in rome since we were like 18 so and um so university and but I studied journalism and I started to work with newspapers and also television. And then I worked with a very important newspaper and the first channel of public television making the correspondent abroad. So I were and I follow above all Africa and everything was abroad. And but after I started to do the long reportage and inquire documentary for television always. And then I decided that I was the girl that changed lives each 10 years. So if you want to change your life each 10 years, please ask. Yes, please ask. And so I decided to quit because it was not my life. It was not my job. And I need an artistic expression more. And above all, I don't love to have a boss that tells me what I have to do. Padrone. Yes, padrone. And so you know, you have an editorial line and it's normal but so I started to do documentaries and we met. But you had met in the early 90s in Rome when you were both studying. So you'd known each other for quite a while before Laminacea no we met maybe two years before yeah and so the the traveling then that was because obviously Laminacea is in Venezuela we're in we're in South America that that was kind of how you in your kind of globe traveling journalism then you discovered what was going on you were following what was going on yeah it was the first the first step and we were passionate about this topic reality both because Luca was very interested in foreign affairs, current affairs and in that moment Venezuela was the art of a certain geopolitical system. So we decided to go. And Luca, what were you doing while Silvia was doing her journalism and reportage? No, I did the opposite, because I started to make short movies with my friends at 14 years old, maybe. Horror movies, you know, during the summer, it's typical. And so I went to Rome to make cinema, and I started immediately to work in every field. So I'm editor, photographer, etc. I did everything, but I fell in love with documentaries. And so I started to do that. For that reason, I went in South America also in 2003 and 2004. I spent two years in Argentina. After a great crisis there, I make documentaries. I went in Chile. I make some installations for museum. So I came back Rome and I met Silvia. And there's a film called Mate e Moneda. It is one. But this seems to be a shadowy film. It's not on IMDb. Have you removed this one? No, it was a time without IMDb maybe. I made it in 2003. So it was a very lucky documentary, but I was very, very very young I was 23 24 but was already a mix of fiction and documentary but was a life experience more I think that I need this time, these years to put in focus what I want to do because a lot of my colleagues of this time, these years, to put in focus what I want to do. Because a lot of my colleagues of this time start to do classical short movie, just to arrive, to make the first feature. For me, it was more important to experiment, experiment something, I hope new, but a new way to be happy doing cinema. I was not happy to do the the classical uh road and i i can do it this time i was very lucky what i did was very appreciated but i don't i won't i i was sure that i can be happy in that way so i have to experiment new ways and i wait and i was happy to wait and tomorrow you selected a film that we're going to show in the morning the work I have to experiment new ways. And I wait. And I was happy to wait. And tomorrow you selected a film that we're going to show in the morning, The Working Class Goes to Heaven by Elio Petri, a classic of cinema from 1971. Now, Italy has a great tradition of horror movies, a great tradition of many types of cinema, but there's always been a very strong political cinema in Italy, Petri. And, you know, there's sort of Fellini, Antonioni and those guys. And then we have Rossellini and we have Petri and Rossi and people like this. Yeah, Jeremy. Was that important to you too? Were you kind of aware of this? I mean, obviously you were aware of it, but was that in some way influential in your making? And you chose the Elio Petri film, which that seems to suggest that Italian tradition. But were you also looking at other cinema of political Japanese or Brazilian? No, no, we chose this film because when we put together all our four long feature, the two documentaries and the feature films, we understand that there were a clear path for the ideological struggle and this moment of no global struggles with La Minaccia, passing through the workers' struggle of the last generation of a kind of workers, political workers, just to arrive to the teenager struggle and to the isolated worker struggle of lucia and we understand that maybe this story is born in the 70s and maybe the main character of the film of Elio Petri can be one character on The Art of War. And so we think, we hope that was a perfect arch of an history of struggles. And just to say that from the community struggles, we arrived to an individual struggle of the girl of Luce against a power or a father that she can't see and maybe it's false. So the arch is complete with this film. And anyway, the style of Eleopetri maybe is very modern. I don't know, maybe Fellini, Antonioni, the other Italian directors are the key directors in the history of cinema, but maybe the cinema of Elio Petri, it's already open to the future. And Gian... Sorry, go on. No, no, no, no. Gian Maria Volonté, the star of the film, was a leftist, very committed person. He would turn down roles. Hollywood would offer him roles and he would go off and do his own thing. We don't really see that much happening. I mean, Volonté was a unique figure, but in terms of engaged directors and engaged people, let's say in Italy, you know, I mean, Paolo Sorrentino is a nice filmmaker and we have several very good filmmakers from Italy, but it's not the ones who are the kind of politically strong ones who we hear about quite so much. I mean, there is Bellocchio, who is still making films, but he's like in his 80s now. From your perspective, do you feel like sort of isolated in some way? Or do you in in your communities are there people making the kind of committed cinema which used to be more common isolated no because i think there is a new wave to to to now since five ten years fifteen years to make movies And in Italy, there are many directors. The red line that unifies us, all of us, is the starting point from the documentary. This is true. And about the commitment, about the political engagement. I don't know. I think, for example, that Matteo Garrone can be described as a director making some very political movies without the declaration, without talking about a working class, for example. There are others. Others, one, Alicia Rovaker, she spoke of the disparition of the countryside workers for example and the emptiness of the countries and people going to the city this is a political issue in my opinion so the political it's the life in my opinion not only the description of a factory or the description of a factory crater is for me a political movie because it asks but it speaks about a teenager just a teenager a teenager and the struggle of a teenager it's a simple struggle but it's in a symbolic way the struggle against the power and the power is the father so I think the political okay we have Belocchio that makes very political and important movie but Belocchio is a maestro so to speak about Belocchio that makes very political and important movie but Belocchio is a maestro so to speak about Belocchio it's difficult for me because I would like to stand up and do that so it's better that I don't speak I really love it but I think maybe we are isolated but not me and Silvia all directors are isolated I think that the first feeling of a director is to be isolated you need to be and you suffer to be anyway of the older generation the only one that maybe help the younger is Nanni Moretti with his theatre he tried to produce other, he produced last year a film that was in Venice he will host our film next week in his theatre he's the only one that put his face against the new law of the government he's the only one the political choice it's a political man, really. Also artistically. This is true. But he's like a superstar figure. Also Sorrentino is a superstar. Maybe more than Nanni Moretti in this moment, but he chose another road. He chose to have his own production, own distribution, so he made all alone, without asking nothing to the others. nanni moretti is the only one that continue to think that is possible to have a community but we know that is very difficult our generation okay we were born with alicia rovaker pietro marcello roberto minervini alberto fasulo and other very good Italian directors, but we are not a community. And Minervini is normally making his films in the US or something like that. But we were born in the same moment, we did the same kind of film. After to destroy, so it was possible to create a community, but it's not the time to do. But it's a bit like in the art of war, where they come from that society and culture of education and consciousness of literature and films and things like this and like your generation has the petries just behind you but the next generation they have you. So it's more simple for them now you know. You're very inspiring I think to the next ones. Since you mentioned Krater and we do have have a couple of clips to show. Maybe it's a good time to show Krater. And the scene we're going to see is the very beginning of the film. I think I'm right. So if we can watch the clip, it's going to be not the perfect image, but you'll get the idea. If we could have the clip, please. And, yep. Nel 1800 nasce il verismo il verismo è una forma letteraria che racconta della realtà di come è fatta e racconta i sacrifici dei contadini i pescatori in Sicilia, le campagne. Poi ha una caratteristica che non dà giudizi. Lo scrittore principale è Giovanni Virga che nasce a Catania nel 1840, cioè in Sicilia. Poi lui pensa che la vita è una catena, che ci sono solamente sofferenze e sacrifici, che è divisa tra vincitori e vinti. E con questo Giovanni Verga ci vuole dire che chi nasce vincitore rimane vincitore, invece chi nasce povero rimane sempre povero. vincitore rimane vincitore, invece chi nasce povero rimane sempre povero. Il realismo letterario è un romano che vive a Francia a aprile 1850. Il trionfo della pubblicazione del romano Madame Bovary è di Gustave Flaubert dit qu'elle romancière avrait seulement s'il observe l'âme humaine des personnages, sans faire intervenir personaggi senza far intervenire senza far intervenire se santo man persone bravo That is the very opening of the film. And number one, you love close-ups. We see this. We see this also in Luce, where the camera is up here. What is it about the intense, massive close-up that appeals to you? We use close-up in different ways in Crater and Luce. In Crater, the idea was to stay with the characters. We have two characters, the father and the daughter. She's the daughter, Sharon. We want to stay with them, close to them, very close to them, in the moment that they take decisions. So to wait the moment where maybe all the directors cut we continue to stay with them to bring the audience inside their hand and to understand why they take this decision not to not to justify because it's impossible to justify action but to understand actions. And in that way, we hope that the audience can live inside the movie. We'd like to create an experience, not only a vision. Don't be passive, but participate, complete the work. Instead, in Lucia, we want to be confused like the main character and don't understand what is true and what is not. Instead you don't understand because the style it seems as a documentary. So we continue to do the same using a different way of focus but with the same signature. And as you say, the audience has to work a bit because it's not obvious what is going on. I mean, at the beginning of Luce, it's like, what is this? Where are we? And maybe you need to watch the film twice to really get it because it can be quite you do have to work the films are about work so the audience works as well but that's kind of a difficult balance because you have to give them something without feeding them too much information is that an instinct? or does that you show it to people and they say sorry i have no idea what's going on but this is the confusion that i was spoken you know we need we we look for that confusion because with information you you you follow the storyline without information you are obliged as audience as spect, you are obliged as audience, as spectator, you are obliged to think. And so we trust in the audience. If you think today how the platforms prepare, write and shoot all their products, it's the opposite. They think that the audience has not to think absolutely because if they think they change or stop so was not our intention to go against this kind of dramaturgy but we trust in audience so we want to create confusion to oblige them to think and maybe yeah you need to watch it twice and we find a lot of times the same people do it you are totally right with loge absolutely but it's not so important because what is important is that that is that maybe the things stay inside you after the vision this is important not the not during and not not not only to let them be confused because we want we are funny if you are confused it's not a joke um it's just a physical emotion so the lack of air the the fatigue also the fatigue of the eyes, fatigue, and the feelings of the character. And you can do that only by the direction style. And our choice is to use the extreme close up and long take, for example, and other tricks to permit your participation, also physical, and maybe also destroying your way to enjoy a movie. Sometimes we had people saying that, what you want, why do you do that? I felt all the time in that time, I don't want to have this feeling when I watch a movie and this is totally understandable. This is totally right. And, but our answer was always welcome in Crater. Welcome in the world of Luce. This is her her word this is their word and if you felt like them this is our goal not because we hate you but because it's our way to tell story that's that's it and you are totally right that we use opening scene in a way that you okay okay, it's not a recap of the film, of the movie. But opening scenes are always for us the signature. So our signature is always in the opening you know in the opening scene with it in luce is you heard the the the the boom boom i don't know the room or no the very sound sound of something that's entering in a wall or in i mean something boom boom In Crater, you listen a teenager, you don't know if she's dancing or not at the beginning, and she's speaking about the realism or the verism, and that's so. On The Art of War, you see the Milano Dome with four figures. It's an architecture but using this as a symbolic people that say hi and watch the city down them, so each opening scene doesn't give don't give any information but gives some feelings that you can have if you have at the end or not or it's not important but it's always our signature if you want because obviously the four of them are the four men who then go on the crane but maybe the answer to the question of close-up and about the confusion is the same. Also the close-up needs to be completed as a frame by the imagination of the audience. Because if you don't see, but you want to see, you have to imagine it. So the answer is the same. It can be the same and also with the background is sometimes out of focus yeah out of focus yes yes yes yes also the real time with long takes real time it's important uh real time it's a fundamental it's a key point of our life we you need time to time to watch and to understand for example in Luce there is real time with the phone call, it's a real time, it takes time, it needs time and of course you can cut but also the Sika taught us also something that Of course you can cut, but also the Sika taught, teach us, no? Also something that it seems useless. It's important. And in the long takes with the real time, many things could be useless, but are important to have the color, no? The flavor of the mood of the scene it fits together and then at the end you see what what it is because while it's well the puzzle is being made we also would like to show a clip from on the on the art of war which clip would you like to show oh number number three no the one of the close-up of the answer, yeah. So this is from the Art of War, from 2012, a documentary about the resistance of the workers in the factory in Milano. se c'hai un nemico devi costruire un esercito se hai un nemico sociale ci vuole un esercito sociale mentre la fabbrica quel territorio particolare dove comanda il padrone nella fabbrica c'è è quel territorio particolare dove comanda il padrone, nella fabbrica c'è anche quel territorio particolare in cui gli schiavi vivono da schiavi. E né uno né l'altro possono evitare questa condizione. E' su questo terreno materiale che la fabbrica e il rapporto di sfruttamento si giocano via per sale. non nasce la necessità di assemblare le teste, di mettersi in sielo. E il germe della rivolta non viene da solo, però ha una base oggettiva. C'è bisogno di un esercito, però non si costruisce un esercito per l'edueducazione l'esercito si costruisce se c'è un nemico se scopre un nemico e dichiara di fargli la guerra cominciare a capirsi mettersi insieme e impara a fare la guerra giorno per giorno e quindi ci vuole l'esercito And so we need the army. Music in documentaries can be a bit dangerous and some people get nervous about it and things like that. But the way that you use music in the films is quite, I think, quite particular. That brings us to Gian Maria Testa, who's got a musical connection of the films. Maybe specifically about the decision when to use music and when not to use music. And then to say a little bit about Gian Maria Testa, please. to use music and then to say a little bit about Gian Maria Testa, please. I start from this clip just to say that the soundtrack of On That War was made with the sounds that we recorded in the three years that we spent in Milan in all the factories that we visited. And we gave this lot of gigas of sounds to the musician and he composed the all the soundtrack with the sounds of the factors concrete music so we decided to do that for on that war in crater uh the music is like the main character because it's the weapon that the father tried to use to give to the daughter a new life. And it's very strange because it's neomelodic music that is a music that is common only in Naples. And it's usually the old world thing that is like the Camorra music instead we use this kind of music because it's very popular and speaks of the problem of the poor people and okay maybe sometimes Camorra can give money to the singers, but for us it was important because it's like the fist rap in the US. It's the real popular music. And in Luce we use a lot of pop music also, Muove la colita or Children by Robert Mice. That was a very disco music techno song of the 90s, very, very, very welcome, because we are sure that the pop music can unify people of all kinds of cultural institutions. All the people are unified by pop music. And in all the films, we have Gian Maria Testa. That is still the contrary of pop music. No, music, we use music as dramaturgy. So if I have to say, if you ask me, do you use music in your movie? My first answer by belly is not. Because for me, it's not music. Here it's sounds of of factories in crater is part of the dramaturgy because the the the main character is a singer so uh it's obvious so there is not a sound check not a sound a proper playlist but the soundtrack of craterater is made with one song only in different arrangements yes it's one song it's the song that the girl has to sing and it is just one song for all the movies the neomelodic version, the rock version the punk one to respect her movie the old movie. The neomelodic version, the rock version. The punk one. Okay. To respect her movie, her feelings, no? She changed and music changed because music is a character, as Luca said. In Lucia it's the same. There's not a soundtrack in Lucia. There is a diegetic music. They dance in a dance hall with old people. She dances in a dance hall with old people. And they simple dance what old people dance in dance hall. So Latin American sometimes, sometimes they dance tango, sometimes waltzer and whatever. sometimes they dance tango sometimes waltzer and whatever and Children is a remastered version a remixed version of 2023 and it was an old song given back to new generations so you can find Children now in great party or discos with young people, not from the 90s, people that in the 90s were not born. And it's about, the name is Children. So for us it was quite perfect. And he died around that time, Robert Miles. He died, yes. Robert Miles. He's a mix of Deborah De Luca, that is an Italian DJ from Naples and on the opposite we all in our movies are inside at the end and inside the music and the words of Gio Maretesta that was an Italian singer. It worked as a train driver for all his life. Also, he was a very famous singer. Also, Yves, he was a very famous singer. He became famous before in France, then in Germany and in Austria. And after 15 years, of course, in Italy, because we arrived always later sometimes. And Gianmaria Testa has a particularity that in his texts to speak about social issue in a very poetic and political way. His albums, since Montgolfier until the last one, are wonderful. And sometimes they are thematic albums so about migration for example another album about work but always in a very poetic poetic way in the same time he has a wonderful voice you can't sing Gian Maria Testa because it's impossible to sing him because his voice is incredible and not because he's a tenor but because it's impossible to sing him because his voice is it's incredible and not because it's a tenor but because it's it's a very very hot uh hot in a very deep deep voice and we we were very friends very close and um uh and we work with him in the song that is at the end of On the Art of War. She was, she, we were made the same things without know each other because we were working on On the Art of War and he was writing a song about this. But we didn't know each other. And then when we discover, we became very friends and we use this song in the movie. And then Gian Maria Testa died in 1216 before Crater. But he knows always. I always say this when I speak about Gian Maria, but I will not cry now. But he knows very well Crater, our project. And the name is Crater because Crater is a constellation. And it's a constellation that you can see so bright that can't be seen. And the possibility to see Crater is only in spring and only from the south of the world. And Gian Maria in that time had a song called Nastella. The name, the translation is One Star. It was like incredible. And his song in dialects of Naples. And that seems to us like, and when we tell him the story of Crater that we were writing in that moment, he said to us, you know what, this character seems like, you know, these stars that you can't see and very, very bright stars, but covered by something. And then he said, you know, do you remember my song? This is, you know, and we said, okay, it's incredible. And we used Nastella for Crater, and in Luce, we use Un'aeroplana a vela. The translation is a plane with a flag. I don't know. It's something that doesn't exist in reality. It's like a lullaby he wrote for his son. And we asked the actor who hacked the the part of the father that is tomaso ragno on the phone to to sing because in in the in the in the movie uh the phone is seeing he sings this song to the to the girl but it was impossible to sing jamaria testa. So Tommaso was like, no, I can't. We made, I don't know how many, you know, rehearsals to let him sing the song. At least we said, okay, Tommaso, okay. In that way, because it's impossible, I know. You tried. Yeah, you tried. It's okay. And at the end, we put this song of Gian Maria. So Gian Maria is, and also in our next one, of course. Could you make a documentary about him? Would that be possible? No, but we make a music video of his last. We'll be sure tonight before Lucia. Povero Tempo Nostro, our poor time. The story, I can't tell the story now, maybe. No, so this song was recorded by Gian Maria. story I can tell the story now maybe no so this song was recorded by Gian Maria maybe a few months before his death on an iPhone but he asked to her wife that if they will do a new disc a new long play of his song the video clip has to be made by us so after two years after that the wife come back to a normal life less or more we decide to do this music video together and and for us is a part of our filmography so we are very happy that it will be shown tonight too so yeah tonight before luce we will we will end with a clip from luce but first there is chance for questions from the audience and i will bring you the microphone so please put your hand up and don't be shy we're all friends here if anybody has a question for our guests yes what tips would you give young filmmakers basic question i know but less money we are young filmmakers no we give we tip we give to young filmmakers yes as young filmmaker i as a young filmmaker i can say to young filmmakers now, I'm joking, the only tips I always say is less money, more freedom. That's it. That's the rule. Less money, more freedom. And do you meet younger people, you know, in their teenagers or 20s, in Rome and traveling? Do you see a new generation that wants to make films? Yeah, and also we teach direction to young filmmakers who are the filmmakers of the future, the new directors they will be. And really the only thing is that and the other things is to have a clear, a clear style, a clear point of view that it's your point of view. And it doesn't matter if it's not good for someone around you, it's your point of view. And so it's right for sure. And because it's your need. So why do you have to change for the market or for whatever? and so it's right for sure and because it's your need so why do you have to change for the market or for whatever and not to be militant because I don't say that you don't need to do and we are not totally but just to have a vision and if you have a vision if you have ideas and if you think that a good movie can be made also by a mobile phone and you don't need a big crew you don't need nothing you need a good idea and three people that you trust and they trust in you and someone close to you that look to you and say, you are doing very shit things, so please do another thing, and you don't get offended because it's your friend and you trust. So three people, one camera, less few money, more freedom. This is the tip. Do we have another question, perhaps? If not, then I think we will, before we finish and wrap up, we will watch a little bit of Luce, just to give us a taste of the latest film. And then I think I have one last question. So if we can see the Luce clip as our last clip of the program and thanks to the technical team for their assistance. Медия. Stokholmsmet si un poste Oh, oh, oh, che scherzo! E' buona! Have fun, Mona. Shh. Shh. that is actually how the film the titles of the film appears which is actually how the film, the titles of the film appears, which is actually quite a way into the film, it's a few minutes before we get the title. So, yeah, the kind of last question, you know, I started by saying, can you see a pattern? And there sort of is a pattern, because La Minaccia is kind of a classical documentary in some ways, On the Art of War is a documentary, which then has a little bit of a poetic and characters appear. Then the next film, Crater, it's real people sort of playing versions of themselves. And then in Luce, we have an actress, Mariana Fontana, professional actress. So you seem to be moving towards, like, I don't know, more fictional features with actors. Is that where the next project will take you? And do you know what the next project will be? The question about the next project is always terrible. But we choose the way to do themes regarding the story we want to tell. So it's not strategic. So for the next one, maybe we come back to don't have actors. But really, we don't know what we need. We need to tell a story. We understand what we need to tell this kind of story. In Lucia, we need an actress for technical reasons, but the actress accepts to follow our method. So before, she became a worker. And after after she discovered the screenplay so we don't I think that we are in a moment where we don't make a difference between professional and non-professional actors what we are thinking about a lot is about the number of persons in the queue maybe we want to come back to a little queue because the experience of persons in the queue. Maybe we want to come back to a little queue because the experience of Volusia in some scenes we had all around us more than 100 people and it's maybe too much to be free during the shooting to put something more. This is maybe what we want to do in the next one. Do you feel sort of pressure from, I don't know, producers or something and they want you to make it not only about that but also about all the departments needs need something and if all departments are made by five six seven people person you have to respect their job and maybe respecting their job you lose time for your job or with we we act in this way we can't be dictator on the set you know you know some directors stay on the in front of the monitor all the time and don't know the name of the people of the cube we are not in the kind of this made in this way so for us it's better to have less people and to have great connection with them but have also the time to recreate the film during the shooting Perhaps the last word from you Silvio what is the future holding for you and for us? Luce was as you see a black movie Luce means light in italians but light in this movie there is very few light the mom we call luce so light because for us light in that in that movie is the gesture of resistance and riot a little that we can do in our life and that the actress made in this movie was very technical movie in the meaning that it was difficult to realize for long takes and for because the night it's not only a song, but it's because of the night, of the, everything was black. And for this reason, we need a crew, a more technical crew. I don't know about the future, but look, we have a new project, of course, and a couple of new. Luca says, right, I think the same thing. The only need, we don't feel the pressure of market or producer because we are very lucky to be two. So two people are stronger. And above all, because we are at the point of our career that we can say, no, I don't want to do that. Simply, I don't do that. That's it. And we can fight for what we want to do. And what we want to do for sure, what we will do is to come back to something that we can control in a technical way more. Also in a big movie, maybe bigger than that in terms of money, but not bigger than that in terms of people. This is the famous three people around you. That's the secret. Well, to finish, I would say greetings to everybody who's been watching on the live stream. Hello to you. Hope it's been informative and illuminating. I know it's been very great to hear the inside, some of the tricks and the secrets and the techniques and the inspiration that you've given us. We thank also to the Art University of Linz, who've been very supportive of this event. And it's been our great joy to have you in Linz. And we hope you come back with every future film that you make. We hope. And yeah, this is not the last time I will be able to say please join me in thanking our guest, Luca Bellino, Silvia Luzzi. Grazie mille. Grazie. Thank you very much. Grazie mille. Thank you. Grazie. you