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Tornatore - Domande Fan
1.Jeane
Hi, Mr. Giuseppe Tornatore, I am your fan. I have three questions. 1. Your movies Malèna, The Legend of 1900 and Cinema Paradiso really touch me. The tragic story about Malena, the friendship between Alfredo and Toto and the 1900’s trip to find himself inspire us to think about life. How do you portrait such ordinary but great sentiment and the figure’s fate in an Italian romantic style in your films? 2. As we know, you frequently work with musician Ennio Morricone, including your famous trio series. How do you plan and deal with the relationship between music and film plots? 3. In your trio series, 1900 refused to leave the vessel for his love. In his eyes, city was a piano with a keyboard consisting of numerous keys. He finally died on the vessel. Alfredo asked Toto not to return from Rome and only saw him until he died. Malena had to continue her life for her husband. All three films are about tragedy stories, while such arrangement are considered as the best option for characters. From these movies, audiences could find a slight of hope out of sadness. How do you present the tragedy of life while giving audiences some hope and inspiration in your films? Thank you.
How do you present the tragedy of life while giving audiences some hope and inspiration in your films?
I don’t know, there isn’t a fixed formula to achieve this, and I don’t even know how successful is in my movies. If audience can find this kind of feeling coming out of my movies, it is only because it belongs to me becuase I always like to go beyond the dramatic feelings and find an element of hope also inside the tragedy.
2.Avalon
I am too excited! My thesis is about Giuseppe Tornatore. I like women characters in his films. Do you have any plan to co-produce a film with Chinese filmmakers? If so, will you select Chinese women as the leading role? Finally, I want to know who is your favourite female character in your films? Thank you! I look forward to watching your latest works on the screen!
I like this question! It’s true female characters in my movies always have a special role, even in those movies where the female characters are not so present and protagonist. The women are the engine of the story in almost all my movies, in some movies this is really clear, like in La Sconosciuta and my last work La Corrispondenza that are told from a female perspective. But also in The Best Offer and others the female character are central.
If I ’ ld like to make a movie in China, yes, I would like it. Because a filmmaker is always curious, he likes to look around and travel. If we find the right condition to do this kind of experience, I would be very happy.
Finally, I want to know who is your favourite female character in your films?
Maybe is the female character from my next movie that I still have to shoot.
3.云中子？？
How your films could enter children's heart by overcoming language, nationality and spacial barriers? Why we always find children in your films? From Malèna, to The Legend of 1900 and then to Cinema Paradiso, what’s the implication of energetic children in your trio series? Does children’s perception of the world inspire you? Thank you!
In some of my stories children have a central role, but I don’t have a special preference for children characters. I put children in the center only when the story required it. But I have to admit that the children’s perception of the world always fascinated me, I like their way to see the world, so innocent and pure. I like to follow their life, and observe them before the world will corrupt theit ability to look the world around themselves.
4.麥田 .捕手
In the Internet era, the taste of young audiences changes quickly and today’s young audiences are also greatly different from the previous generation. However, your films are always classical in audience’s heart. How do you grasp what audiences need most in a fast changing world?
There’s no rule or a recipe for this, if there was a way to grasp what audience need we all would follow it and always conquer the audience’s hearts. I don’t know if my movies are, as you say, always classical and up to date. If is it so, however there’s no strategy; I never ask myself what the audience might like tomorrow, I never follow the so-called audience’s taste. I usually only follow my desire and interest. When I decide what kind of movie I’m going to do, I’m the first audience and I only make a certain movie if I really like it. I do it only if I think that I’ld like to go to the cinema, pay the ticket and watch that movie.
5.joyce
I have many questions to ask. 1. In Cinema Paradiso, Toto accepted Alfredo’s advise and decided to leave. In The Legend of 1900, 1900 decided not to leave the vessel. People will make different decisions on whether to leave or stay in different scenarios. In your life experience, do you think whether such choices contradict with each other? If you could choose again now, what’s your selection? 2. What does “Hometown” mean to you? 3. In Cinema Paradiso, numerous audiences are deeply moved by the final kiss montage. How do you have such idea? 4. Baarìa is a more Italian film compared to your other films. It may be difficult for audiences who are not familiar with Italian history and culture to understand this film. Would you please talk more about this film? So, Chinese audiences could better understand it.
What does “Hometown” mean to you?
The hometown is an important place for everyone. In my case my hometown is even more important because I left it pretty late, around 27 years old, when my character and personality was already developed. By then, my way of looking at the world was already determined by the education I received there. I think that everytime I write a story it is always influenced by my origins, even when is not set in Sicily.
In Cinema Paradiso, numerous audiences are deeply moved by the final kiss montage. How do you have such idea?
The idea comes from certain practices that were really happening in my hometown. The cinemas managed by priests were screening only movies that were conform to a religious rule, so a lot of movies were forbidden some others went through some cut made by the projector operators. I knew that in my hometown there was a priest that was checking every movie before screening and would cut out any kiss, any sign of erotic scene, then I realized that maybe the projector operator wasn’t able to put those scenes back and they would end up somewhere else. From this come the idea of the old projectionist that already passed away leave to Toto’, now a famous director all those scene that he kept, they represent the love for cinema.
Baarìa is a more Italian film compared to your other films. It may be difficult for audiences who are not familiar with Italian history and culture to understand this film. Would you please talk more about this film? So, Chinese audiences could better understand it.
Usually when you make a movie you shouldn’t explain it. But it’s true that Baaria, together with my first movie Il Camorrista is the one more connected to Italian history, so I understand that there might be some elements not so clear for an audience which culture is so different and faraway from the Italian. However, this movie tells the story of the life in a village through a century, and despite the specific Italian elements this is an universal story. All the facts told in Baaria really happened, but at same time they are also based and on universal narration, they could have happen anywhere. Whoever has lived a long time in a small town, will find in Baaria, will certainly understand the felling and the sense of many things, despite certain elements are very faraway and very specific.
6.Gackt
Hi, Director Tornatore, I want to ask a question about Malèna. In the film, the young boy Renato shouldn’t appear in the adult world. Why do you arrange such a young boy getting involved with the adult world? 2. In you eyes, what’s the image of Beijing? What’s the most impressive for you in Beijing? 3. Do you watch any Chinese director’s films? If so, which director has impressed you the most?
2. In you eyes, what’s the image of Beijing?
Beijing is almost a mythological place in our childhood, it is the capital of this country so big and so faraway, we all kids were really curious about it about what was happening here. Then growing up we understood better and saw how great this country was becoming.
Ten years ago, I had a wonderful experience here in Beijing, I shot a short movie for the promotion of the 2008 Beijing Olympic Games. I wanted to have around me only Chinese crew, I didn’t want to bring from Italy many people, and has been great, because cinema is an universal language that can help people from different cultures and with different languages to understand each other.
Today China is even more attractive for people that like me love cinema, is maybe the only country in the world were the film market is growing enormously. In most of the countries the film screen are less and less, while in China the screens are growing rapidly. For people that love cinema, this is extraordinary. Beijing and China for world filmmakers today are an important and positive horizon.
