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

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00:00:56,556 --> 00:01:00,(engine whining)

00:01:02,979 --> 00:01:05,(thrum of passing traffic)

00:01:11,362 --> 00:01:14,(tram car trundling)

00:01:19,454 --> 00:01:20,(bell ringing)

00:03:07,270 --> 00:03:09,(water pattering)

00:06:20,213 --> 00:06:23,When I see the first time, eight years old,

00:06:23,091 --> 00:06:25,nine years old, in the studio,

00:06:25,718 --> 00:06:28,I went to see all labs and this,

00:06:28,221 --> 00:06:30,and my father, the first time he tell me,

00:06:30,890 --> 00:06:34,"Look, come here, look in the camera."

00:06:34,227 --> 00:06:36,I look in the camera and then...

00:06:36,813 --> 00:06:39,"Yes, now move. What do you want to see?"

00:06:39,732 --> 00:06:43,I move camera.

00:06:43,236 --> 00:06:45,It even add another dimension to life.

00:10:06,605 --> 00:10:07,(emergency brake clicks)

00:10:07,690 --> 00:10:09,(door opens)

00:10:34,967 --> 00:10:37,(movie dialogue continues)

00:10:37,636 --> 00:10:39,(loud bang)

00:10:51,984 --> 00:10:53,(gunshot)

00:12:23,409 --> 00:12:24,After the war,

00:12:24,410 --> 00:12:27,there was a great sense of solidarity.

00:12:27,580 --> 00:12:29,We had a sense that we had--

00:12:29,707 --> 00:12:34,the antifascist forces had won the war together.

00:12:34,378 --> 00:12:37,That we were a united people

00:12:37,131 --> 00:12:38,and we had strength.

00:12:38,757 --> 00:12:41,And that led to a certain kind of cinema

00:12:41,760 --> 00:12:43,which was about people,

00:12:43,220 --> 00:12:45,it was about us,

00:12:45,264 --> 00:12:46,what we had in common.

00:12:46,474 --> 00:12:50,It was a sense that we were stronger as a team

00:12:50,644 --> 00:12:52,than as individuals.

00:13:00,279 --> 00:13:02,People had no money, no resources,

00:13:02,114 --> 00:13:03,and people like Visconti and Rossellini

00:13:03,824 --> 00:13:06,started to pick up the camera and shoot films

00:13:06,118 --> 00:13:07,and Carlo was a part of that moment.

00:13:07,953 --> 00:13:09,It was really an amazing moment.

00:13:09,413 --> 00:13:11,I mean, I think the Italian neorealist movement

00:13:11,332 --> 00:13:13,just--it really changed the face of cinema

00:13:13,501 --> 00:13:15,in a significant way and he was there for that.

00:13:15,544 --> 00:13:16,And those cameramen were doing

00:13:16,879 --> 00:13:18,very different things with natural light.

00:13:18,130 --> 00:13:19,They had no real resources, not a lot of lights,

00:13:19,965 --> 00:13:22,and they just went out and shot things.

00:13:22,176 --> 00:13:25,And I think that really had an effect on his style ultimately.

00:14:15,312 --> 00:14:16,(bell rings)

00:14:16,772 --> 00:14:18,I was born in '
00:14:18,816 --> 00:14:21,and Carlo is a generation older than me.

00:14:21,986 --> 00:14:23,He was already working.

00:14:23,696 --> 00:14:26,He was...present for La Terra Trema,

00:14:26,740 --> 00:14:28,Ladri di Biciclette,

00:14:28,200 --> 00:14:29,he was camera assistant.

00:14:30,035 --> 00:14:31,Behind the camera

00:14:31,245 --> 00:14:33,and even if you did pull the focus,

00:14:33,330 --> 00:14:35,or if you're the operator, you were there

00:14:35,499 --> 00:14:36,and you were essential.

00:14:36,625 --> 00:14:38,So he lived all these movies

00:14:38,210 --> 00:14:41,that are the basis of my education,

00:14:41,797 --> 00:14:44,that's where I'm coming from, that's where I learned.

00:15:12,202 --> 00:15:14,(din of traffic)

00:15:27,176 --> 00:15:31,And that--that was in the end of '40s and the 1950s,

00:15:31,430 --> 00:15:33,maybe the beginning of the '60s

00:15:33,182 --> 00:15:35,and then there was a change in society, wasn't there?

00:15:35,934 --> 00:15:37,And the right of the individual

00:15:38,020 --> 00:15:41,and "You're not my comrade, you're my enemy

00:15:41,732 --> 00:15:44,and I have to do a deal with you to beat you."

00:15:45,027 --> 00:15:46,And the cinema again reflected that

00:15:46,528 --> 00:15:48,and became a cinema of individualism,

00:15:48,572 --> 00:15:50,a cinema of wealth, a cinema of greed,

00:15:50,699 --> 00:15:55,a cinema of violence and antagonism,

00:15:55,913 --> 00:15:58,and we lost that sense of community.

00:15:58,290 --> 00:16:00,(indistinct shouting)

00:16:03,545 --> 00:16:05,But I think things are changing now,

00:16:05,381 --> 00:16:10,because with the economic collapse throughout Europe,

00:16:10,135 --> 00:16:11,I think people are beginning to realize

00:16:11,970 --> 00:16:14,that we need each other, we can't fight each other,

00:16:14,640 --> 00:16:16,we don't struggle against each other,

00:16:16,725 --> 00:16:18,we struggle together.

00:16:18,769 --> 00:16:22,So I think maybe it's time we revive the ideas

00:16:22,773 --> 00:16:24,of the Italian neorealist cinema

00:16:25,025 --> 00:16:27,and we spread them across Europe.

00:16:27,194 --> 00:16:29,(din of traffic)

00:22:02,988 --> 00:22:04,(indistinct shouting)

00:22:05,032 --> 00:22:07,(gunfire)

00:23:10,472 --> 00:23:14,(harpsichord music)

00:24:42,022 --> 00:24:44,In that film, those kind of quick cuts,

00:24:44,816 --> 00:24:48,those kind of constant reframings that he does

00:24:48,153 --> 00:24:49,really gives the film so much energy

00:24:50,071 --> 00:24:51,and I know that that was very influential.

00:24:51,823 --> 00:24:54,I mean, Scorsese has mentioned many times

00:24:54,201 --> 00:24:56,how influential that film has been on him.

00:26:13,363 --> 00:26:16,(engine rumbling)

00:26:17,409 --> 00:26:19,(bell ringing)

00:27:33,234 --> 00:27:36,Carlo, once again, is sort of a watershed moment

00:27:36,404 --> 00:27:37,in film history.

00:27:37,697 --> 00:27:40,For many people, almost the first true color film,

00:27:40,575 --> 00:27:42,the first one where color is truly

00:27:42,786 --> 00:27:45,a kind of aesthetic element within the film

00:27:45,455 --> 00:27:46,in his work with Antonioni.

00:28:38,550 --> 00:28:41,(otherworldly singing)

00:29:02,323 --> 00:29:04,(rhythmic droning)

00:29:43,615 --> 00:29:45,(laughter)

00:30:02,300 --> 00:30:05,One thing that was good about that generation

00:30:05,887 --> 00:30:08,was that they began in monochrome,

00:30:08,139 --> 00:30:10,they saw photography in terms of shades

00:30:10,850 --> 00:30:12,rather than color.

00:30:12,560 --> 00:30:15,So that when he did come to use color,

00:30:15,772 --> 00:30:17,it had an excitement for him

00:30:17,982 --> 00:30:21,and his excitement communicated through his images, I think.

00:30:38,962 --> 00:30:41,(boat horn blows)

00:30:46,970 --> 00:30:49,I'll never forget the industrial landscapes of Red Desert.

00:30:49,180 --> 00:30:51,There's nothing quite like it in the history of cinema,

00:30:51,307 --> 00:30:52,the way those landscapes were shot.

00:30:52,600 --> 00:30:54,They're both alternately incredibly fascinating

00:30:54,561 --> 00:30:56,and beautiful and of course horrifying

00:30:56,771 --> 00:30:58,because of the pollution that they were bringing to the world.

00:30:58,940 --> 00:31:02,He just--he caught that and gave you a sense of that.

00:31:02,860 --> 00:31:05,(loud hissing)

00:31:30,221 --> 00:31:32,(water lapping)

00:31:41,858 --> 00:31:45,(otherworldly noises)

00:34:16,053 --> 00:34:17,What are you doing?

00:34:17,679 --> 00:34:19,Stop it! Stop it!

00:34:19,724 --> 00:34:20,Give me those pictures.

00:34:20,808 --> 00:34:22,You can't photograph people like that.

00:34:22,726 --> 00:34:24,Who says I can't?

00:34:24,728 --> 00:34:27,I'm only doing my job. Some people are bull fighters,

00:34:27,398 --> 00:34:29,some people are politicians.

00:34:29,900 --> 00:34:31,I'm a photographer.

00:34:34,489 --> 00:34:36,Right.

00:34:36,866 --> 00:34:38,That's good, that's good, hold that.

00:34:38,284 --> 00:34:40,Wonderful.

00:34:40,119 --> 00:34:43,I realized how important colors work was,

00:34:43,121 --> 00:34:46,especially on Blow-Up because, in many ways,

00:34:46,501 --> 00:34:50,it's, visually, a very, very inventive film.

00:34:50,170 --> 00:34:51,One of the few films at the time

00:34:52,005 --> 00:34:56,who reflected the language of cinema

00:34:56,469 --> 00:34:57,in its own story.

00:34:57,845 --> 00:34:58,It's one of the few films

00:34:59,013 --> 00:35:01,that really deal with photography

00:35:01,641 --> 00:35:04,and deal with the essence of taking a picture.

00:35:04,936 --> 00:35:06,Great.

00:35:06,103 --> 00:35:08,And again, go on. Go, go.

00:36:09,667 --> 00:36:11,Before they made Blow-Up,

00:36:11,335 --> 00:36:12,Michelangelo Antonioni told him,

00:36:12,920 --> 00:36:16,"The last film, we tried to do very three-dimensional.

00:36:16,132 --> 00:36:19,Now I really want to show great spaces between people."

00:36:19,594 -->...