Water And Sugar Carlo Di Palma The Colours Of Life (2016)_en Movie Subtitles

1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:05,839 --> 00:00:09,718 (film projector clicking) 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 4 00:00:56,556 --> 00:01:00,059 (engine whining) 5 00:01:02,979 --> 00:01:05,522 (thrum of passing traffic) 6 00:01:11,362 --> 00:01:14,699 (tram car trundling) 7 00:01:19,454 --> 00:01:20,622 (bell ringing) 8 00:03:07,270 --> 00:03:09,856 (water pattering) 9 00:06:20,213 --> 00:06:23,007 When I see the first time, eight years old, 10 00:06:23,091 --> 00:06:25,635 nine years old, in the studio, 11 00:06:25,718 --> 00:06:28,137 I went to see all labs and this, 12 00:06:28,221 --> 00:06:30,807 and my father, the first time he tell me, 13 00:06:30,890 --> 00:06:34,143 "Look, come here, look in the camera." 14 00:06:34,227 --> 00:06:36,729 I look in the camera and then... 15 00:06:36,813 --> 00:06:39,649 "Yes, now move. What do you want to see?" 16 00:06:39,732 --> 00:06:43,152 I move camera. 17 00:06:43,236 --> 00:06:45,655 It even add another dimension to life. 18 00:10:06,605 --> 00:10:07,606 (emergency brake clicks) 19 00:10:07,690 --> 00:10:09,150 (door opens) 20 00:10:34,967 --> 00:10:37,553 (movie dialogue continues) 21 00:10:37,636 --> 00:10:39,639 (loud bang) 22 00:10:51,984 --> 00:10:53,652 (gunshot) 23 00:12:23,409 --> 00:12:24,326 After the war, 24 00:12:24,410 --> 00:12:27,496 there was a great sense of solidarity. 25 00:12:27,580 --> 00:12:29,623 We had a sense that we had-- 26 00:12:29,707 --> 00:12:34,295 the antifascist forces had won the war together. 27 00:12:34,378 --> 00:12:37,047 That we were a united people 28 00:12:37,131 --> 00:12:38,674 and we had strength. 29 00:12:38,757 --> 00:12:41,677 And that led to a certain kind of cinema 30 00:12:41,760 --> 00:12:43,137 which was about people, 31 00:12:43,220 --> 00:12:45,181 it was about us, 32 00:12:45,264 --> 00:12:46,390 what we had in common. 33 00:12:46,474 --> 00:12:50,561 It was a sense that we were stronger as a team 34 00:12:50,644 --> 00:12:52,062 than as individuals. 35 00:13:00,279 --> 00:13:02,031 People had no money, no resources, 36 00:13:02,114 --> 00:13:03,741 and people like Visconti and Rossellini 37 00:13:03,824 --> 00:13:06,035 started to pick up the camera and shoot films 38 00:13:06,118 --> 00:13:07,870 and Carlo was a part of that moment. 39 00:13:07,953 --> 00:13:09,330 It was really an amazing moment. 40 00:13:09,413 --> 00:13:11,248 I mean, I think the Italian neorealist movement 41 00:13:11,332 --> 00:13:13,417 just--it really changed the face of cinema 42 00:13:13,501 --> 00:13:15,461 in a significant way and he was there for that. 43 00:13:15,544 --> 00:13:16,795 And those cameramen were doing 44 00:13:16,879 --> 00:13:18,047 very different things with natural light. 45 00:13:18,130 --> 00:13:19,882 They had no real resources, not a lot of lights, 46 00:13:19,965 --> 00:13:22,092 and they just went out and shot things. 47 00:13:22,176 --> 00:13:25,471 And I think that really had an effect on his style ultimately. 48 00:14:15,312 --> 00:14:16,689 (bell rings) 49 00:14:16,772 --> 00:14:18,732 I was born in '45 50 00:14:18,816 --> 00:14:21,902 and Carlo is a generation older than me. 51 00:14:21,986 --> 00:14:23,612 He was already working. 52 00:14:23,696 --> 00:14:26,657 He was...present for La Terra Trema, 53 00:14:26,740 --> 00:14:28,117 Ladri di Biciclette, 54 00:14:28,200 --> 00:14:29,952 he was camera assistant. 55 00:14:30,035 --> 00:14:31,161 Behind the camera 56 00:14:31,245 --> 00:14:33,247 and even if you did pull the focus, 57 00:14:33,330 --> 00:14:35,415 or if you're the operator, you were there 58 00:14:35,499 --> 00:14:36,542 and you were essential. 59 00:14:36,625 --> 00:14:38,127 So he lived all these movies 60 00:14:38,210 --> 00:14:41,714 that are the basis of my education, 61 00:14:41,797 --> 00:14:44,883 that's where I'm coming from, that's where I learned. 62 00:15:12,202 --> 00:15:14,663 (din of traffic) 63 00:15:27,176 --> 00:15:31,347 And that--that was in the end of '40s and the 1950s, 64 00:15:31,430 --> 00:15:33,098 maybe the beginning of the '60s 65 00:15:33,182 --> 00:15:35,851 and then there was a change in society, wasn't there? 66 00:15:35,934 --> 00:15:37,936 And the right of the individual 67 00:15:38,020 --> 00:15:41,649 and "You're not my comrade, you're my enemy 68 00:15:41,732 --> 00:15:44,943 and I have to do a deal with you to beat you." 69 00:15:45,027 --> 00:15:46,445 And the cinema again reflected that 70 00:15:46,528 --> 00:15:48,489 and became a cinema of individualism, 71 00:15:48,572 --> 00:15:50,616 a cinema of wealth, a cinema of greed, 72 00:15:50,699 --> 00:15:55,829 a cinema of violence and antagonism, 73 00:15:55,913 --> 00:15:58,207 and we lost that sense of community. 74 00:15:58,290 --> 00:16:00,834 (indistinct shouting) 75 00:16:03,545 --> 00:16:05,297 But I think things are changing now, 76 00:16:05,381 --> 00:16:10,052 because with the economic collapse throughout Europe, 77 00:16:10,135 --> 00:16:11,887 I think people are beginning to realize 78 00:16:11,970 --> 00:16:14,556 that we need each other, we can't fight each other, 79 00:16:14,640 --> 00:16:16,642 we don't struggle against each other, 80 00:16:16,725 --> 00:16:18,686 we struggle together. 81 00:16:18,769 --> 00:16:22,690 So I think maybe it's time we revive the ideas 82 00:16:22,773 --> 00:16:24,942 of the Italian neorealist cinema 83 00:16:25,025 --> 00:16:27,111 and we spread them across Europe. 84 00:16:27,194 --> 00:16:29,697 (din of traffic) 85 00:22:02,988 --> 00:22:04,948 (indistinct shouting) 86 00:22:05,032 --> 00:22:07,951 (gunfire) 87 00:23:10,472 --> 00:23:14,184 (harpsichord music) 88 00:24:42,022 --> 00:24:44,733 In that film, those kind of quick cuts, 89 00:24:44,816 --> 00:24:48,069 those kind of constant reframings that he does 90 00:24:48,153 --> 00:24:49,988 really gives the film so much energy 91 00:24:50,071 --> 00:24:51,740 and I know that that was very influential. 92 00:24:51,823 --> 00:24:54,117 I mean, Scorsese has mentioned many times 93 00:24:54,201 --> 00:24:56,328 how influential that film has been on him. 94 00:26:13,363 --> 00:26:16,157 (engine rumbling) 95 00:26:17,409 --> 00:26:19,869 (bell ringing) 96 00:27:33,234 --> 00:27:36,321 Carlo, once again, is sort of a watershed moment 97 00:27:36,404 --> 00:27:37,614 in film history. 98 00:27:37,697 --> 00:27:40,492 For many people, almost the first true color film, 99 00:27:40,575 --> 00:27:42,702 the first one where color is truly 100 00:27:42,786 --> 00:27:45,372 a kind of aesthetic element within the film 101 00:27:45,455 --> 00:27:46,956 in his work with Antonioni. 102 00:28:38,550 --> 00:28:41,094 (otherworldly singing) 103 00:29:02,323 --> 00:29:04,826 (rhythmic droning) 104 00:29:43,615 --> 00:29:45,408 (laughter) 105 00:30:02,300 --> 00:30:05,803 One thing that was good about that generation 106 00:30:05,887 --> 00:30:08,056 was that they began in monochrome, 107 00:30:08,139 --> 00:30:10,767 they saw photography in terms of shades 108 00:30:10,850 --> 00:30:12,477 rather than color. 109 00:30:12,560 --> 00:30:15,688 So that when he did come to use color, 110 00:30:15,772 --> 00:30:17,899 it had an excitement for him 111 00:30:17,982 --> 00:30:21,903 and his excitement communicated through his images, I think. 112 00:30:38,962 --> 00:30:41,214 (boat horn blows) 113 00:30:46,970 --> 00:30:49,097 I'll never forget the industrial landscapes of Red Desert. 114 00:30:49,180 --> 00:30:51,224 There's nothing quite like it in the history of cinema, 115 00:30:51,307 --> 00:30:52,517 the way those landscapes were shot. 116 00:30:52,600 --> 00:30:54,477 They're both alternately incredibly fascinating 117 00:30:54,561 --> 00:30:56,688 and beautiful and of course horrifying 118 00:30:56,771 --> 00:30:58,856 because of the pollution that they were bringing to the world. 119 00:30:58,940 --> 00:31:02,777 He just--he caught that and gave you a sense of that. 120 00:31:02,860 --> 00:31:05,363 (loud hissing) 121 00:31:30,221 --> 00:31:32,473 (water lapping) 122 00:31:41,858 --> 00:31:45,445 (otherworldly noises) 123 00:34:16,053 --> 00:34:17,597 What are you doing? 124 00:34:17,679 --> 00:34:19,639 Stop it! Stop it! 125 00:34:19,724 --> 00:34:20,725 Give me those pictures. 126 00:34:20,808 --> 00:34:22,643 You can't photograph people like that. 127 00:34:22,726 --> 00:34:24,645 Who says I can't? 128 00:34:24,728 --> 00:34:27,315 I'm only doing my job. Some people are bull fighters, 129 00:34:27,398 --> 00:34:29,817 some people are politicians. 130 00:34:29,900 --> 00:34:31,360 I'm a photographer. 131 00:34:34,489 --> 00:34:36,783 Right. 132 00:34:36,866 --> 00:34:38,201 That's good, that's good, hold that. 133 00:34:38,284 --> 00:34:40,036 Wonderful. 134 00:34:40,119 --> 00:34:43,039 I realized how important colors work was, 135 00:34:43,121 --> 00:34:46,417 especially on Blow-Up because, in many ways, 136 00:34:46,501 --> 00:34:50,087 it's, visually, a very, very inventive film. 137 00:34:50,170 --> 00:34:51,922 One of the few films at the time 138 00:34:52,005 --> 00:34:56,385 who reflected the language of cinema 139 00:34:56,469 --> 00:34:57,762 in its own story. 140 00:34:57,845 --> 00:34:58,930 It's one of the few films 141 00:34:59,013 --> 00:35:01,557 that really deal with photography 142 00:35:01,641 --> 00:35:04,852 and deal with the essence of taking a picture. 143 00:35:04,936 --> 00:35:06,020 Great. 144 00:35:06,103 --> 00:35:08,356 And again, go on. Go, go. 145 00:36:09,667 --> 00:36:11,252 Before they made Blow-Up, 146 00:36:11,335 --> 00:36:12,837 Michelangelo Antonioni told him, 147 00:36:12,920 --> 00:36:16,048 "The last film, we tried to do very three-dimensional. 148 00:36:16,132 --> 00:36:19,510 Now I really want to show great spaces between people." 149 00:36:19,594 -->...