1 00:00:03,200 --> 00:00:06,700 Welcome back to the 824 podcast. We recently brought together, 2 00:00:06,700 --> 00:00:09,800 old friends and Cinema royalty, Isabella, Rossellini and Willem 3 00:00:09,800 --> 00:00:12,300 Dafoe for a long-distance Zoom conversation. 4 00:00:12,400 --> 00:00:14,900 Full of never before revealed stories from their time, working 5 00:00:14,900 --> 00:00:18,000 with David Lynch on movies like Wild at Heart and blue velvet. 6 00:00:18,600 --> 00:00:21,700 We hope you enjoyed the episode and catch Isabella Rossellini as 7 00:00:21,700 --> 00:00:24,600 the Beloved Nana, Connie and Marcel the Shell with Shoes On 8 00:00:24,800 --> 00:00:26,500 now in theaters. Hi. 9 00:00:27,100 --> 00:00:30,300 Hi. I'm Isabella Rossellini Nick. 10 00:00:33,300 --> 00:00:39,300 Hi, I'm willing to follow or the other way around. 11 00:00:39,400 --> 00:00:41,100 We are actors so you'll never know. 12 00:00:41,400 --> 00:00:44,100 And this is the podcast for a 24. 13 00:00:45,800 --> 00:00:49,800 Hey, how are you? I'm finding you good, where are 14 00:00:49,800 --> 00:00:51,800 you? So how many we York? 15 00:00:52,200 --> 00:00:55,000 I'm an outside Rome. That's a drone, that's what I 16 00:00:55,200 --> 00:00:58,900 thought too, because I can see on, Zoom the door behind you and 17 00:00:58,900 --> 00:01:03,500 I said that's not America. No, it's In fact, in fact, it's 18 00:01:03,500 --> 00:01:07,400 an Indian daughter, actually. But so you could have been in 19 00:01:07,400 --> 00:01:09,000 India, but I thought he had to lie. 20 00:01:09,300 --> 00:01:14,400 I could be in that league, but India, but I'm in and a 21 00:01:14,400 --> 00:01:21,000 decidedly Indian Decor Rome actually, yeah, so, so speak 22 00:01:21,000 --> 00:01:26,700 Italian by now Willam. You, do, I see polygon panel on 23 00:01:26,700 --> 00:01:30,200 your Journal says, oh, really you see you taking lessons, or 24 00:01:30,200 --> 00:01:34,500 you just a little bit once? So, we can take a lesson, but I 25 00:01:34,500 --> 00:01:36,100 read a little bit in the morning. 26 00:01:36,700 --> 00:01:39,600 Well, the giant grammar is very complicated, but if it's of any 27 00:01:39,600 --> 00:01:42,400 consolation, we Italian make many mistakes. 28 00:01:42,400 --> 00:01:45,800 When we thought the song, the song, the verb. 29 00:01:45,800 --> 00:01:48,900 The verb is so difficult, so we make mistake. 30 00:01:49,200 --> 00:01:52,300 I know the verbs are killers. Yes, it's true. 31 00:01:52,600 --> 00:01:56,100 Recently, I found out, I can actually fight an Italian. 32 00:01:56,200 --> 00:01:59,200 You know, when I'm angry very, very good. 33 00:01:59,300 --> 00:02:03,500 Sometimes those saying big words in a different man, Pitcher it 34 00:02:03,500 --> 00:02:08,600 allows you because sometimes when when I say well, we can't 35 00:02:08,600 --> 00:02:12,800 say it now because I don't know if it can be censored or not. 36 00:02:12,800 --> 00:02:16,900 This part of go ahead, but face a fuck in English. 37 00:02:17,100 --> 00:02:22,200 It doesn't resonate in me as strong as a probably resonated 38 00:02:22,200 --> 00:02:26,000 to an American. So when I fight for it, when I 39 00:02:26,000 --> 00:02:29,300 fought with my husband, I often switch to Ink. 40 00:02:29,300 --> 00:02:31,700 I felt. I was very violent in my 41 00:02:31,700 --> 00:02:34,100 language. Jin English, but I couldn't be 42 00:02:34,100 --> 00:02:38,800 abused the same strength in Italian because those words, hit 43 00:02:38,800 --> 00:02:40,000 me. And then I thought, oh I don't 44 00:02:40,000 --> 00:02:45,400 want to be that that hard. So I'm sure you have you know, a 45 00:02:45,400 --> 00:02:48,000 lot of bad words. Oh God. 46 00:02:49,200 --> 00:02:50,600 That's the first thing you learn. 47 00:02:50,600 --> 00:02:51,500 You know. Oh yes. 48 00:02:51,500 --> 00:02:54,800 And in Italy. They elaborate they can invent 49 00:02:54,800 --> 00:02:55,900 new words. Yeah. 50 00:02:56,300 --> 00:03:00,200 The other ridiculous thing is, of course, maybe it's partly 51 00:03:00,200 --> 00:03:04,200 because I'm an actor and I like Mimic things, but you learn 52 00:03:04,500 --> 00:03:06,700 gestural language, you know? Yes. 53 00:03:07,100 --> 00:03:09,900 So, anything, you know, I just felt somebody gave me a teeny 54 00:03:09,900 --> 00:03:14,600 book with all the Italian gestures and it's wonderful. 55 00:03:14,600 --> 00:03:18,300 And some of it is references for very long history of how they 56 00:03:18,300 --> 00:03:20,200 came about. And I didn't know it. 57 00:03:20,200 --> 00:03:22,300 Of course, I do tell you a gesture, but I didn't know how 58 00:03:22,300 --> 00:03:25,300 they came about and so much of the gestures. 59 00:03:25,300 --> 00:03:28,500 Yeah, there was also used in the commedia, dell'arte, in all 60 00:03:28,500 --> 00:03:31,600 these improvised theater of Italy, where there was a little, 61 00:03:31,800 --> 00:03:35,000 you know, They were character that were set and little bit of 62 00:03:35,000 --> 00:03:39,200 stories but all these gesture also came to make. 63 00:03:39,200 --> 00:03:42,000 And this you know, to make the audience understand what were 64 00:03:42,000 --> 00:03:46,100 the subtext of the character? I'll send it to you. 65 00:03:46,100 --> 00:03:50,400 He'd be very interesting talk. They want you. 66 00:03:50,900 --> 00:03:54,500 When you were living in Tribeca and I was living in Tribeca and 67 00:03:54,500 --> 00:03:57,700 you were your I had your experimental theater, right? 68 00:03:57,700 --> 00:04:00,400 The Wooster group. Yes, I was, I was with that 69 00:04:00,400 --> 00:04:05,200 company from many many years and they, Still exist but because of 70 00:04:06,100 --> 00:04:11,900 various reasons I had to leave and but they still go, it's not 71 00:04:11,900 --> 00:04:16,000 the same but that was a big part of my life is that was part of 72 00:04:16,000 --> 00:04:19,100 your life. I remember, I remember, you 73 00:04:19,100 --> 00:04:22,000 know, that was what maybe 40 years ago. 74 00:04:22,200 --> 00:04:33,100 So I started in 77 and I stopped in about 2003 or for So that's a 75 00:04:33,900 --> 00:04:36,100 long time, stretch. Yeah. 76 00:04:36,100 --> 00:04:38,000 You missed it because you did that. 77 00:04:38,000 --> 00:04:41,900 But I know when I, you know, yeah, I've done theater. 78 00:04:41,900 --> 00:04:45,900 I after, after I finished with the Wooster group, I worked with 79 00:04:46,600 --> 00:04:49,400 three directors, that I love that very fortunate. 80 00:04:49,600 --> 00:04:54,300 I worked with Richard Foreman, who I've worked with before, who 81 00:04:54,300 --> 00:04:56,300 had a beautiful theater, that was in st. 82 00:04:56,300 --> 00:04:59,900 Mark's church for a long time. It was a little chamber theater 83 00:04:59,900 --> 00:05:02,800 called the unto ontological is Work together. 84 00:05:03,300 --> 00:05:06,200 I loved working with him. I did a piece with him at the 85 00:05:06,200 --> 00:05:09,000 public, and then I worked with Bob Wilson, a couple of times, 86 00:05:09,200 --> 00:05:14,200 in fact, one time with Baryshnikov, which was a, which 87 00:05:14,200 --> 00:05:21,900 was based on a kind of a surrealist Rider Russian writer 88 00:05:21,900 --> 00:05:26,500 named Daniel carms, and it was principally a movement piece, 89 00:05:26,500 --> 00:05:29,500 which was great fun for me, because one of the beautiful 90 00:05:29,500 --> 00:05:32,000 things about the fear of it and you weren't afraid. 91 00:05:32,100 --> 00:05:35,500 Boarded in film, is you get to use your body so fully? 92 00:05:36,300 --> 00:05:38,800 Yeah. So it was a, it was a, it was a, 93 00:05:38,800 --> 00:05:41,600 it was a great piece because we played twins, we were dressed 94 00:05:41,600 --> 00:05:44,200 alike, and sometimes we'd mimic each other. 95 00:05:44,300 --> 00:05:45,700 And that, that was a great experience. 96 00:05:45,700 --> 00:05:50,100 And then also, I worked with this, great Italian, director 97 00:05:50,100 --> 00:05:54,400 named, Romeo Custer Lucci, you know, his work, don't you know, 98 00:05:54,400 --> 00:05:58,100 I don't know his work because although I am Italian and I 99 00:05:58,100 --> 00:06:01,400 often go to Italy, I have lived in America for 50 years. 100 00:06:01,400 --> 00:06:03,400 I do Cool. So much in Italy. 101 00:06:03,400 --> 00:06:06,600 I do go to visit my family or some friends lately. 102 00:06:06,600 --> 00:06:11,100 I pay more for the first time I made a film in Italy. 103 00:06:11,700 --> 00:06:15,800 We tell each a rogue Wacker but generally, I do, yeah, yeah, 104 00:06:15,800 --> 00:06:17,600 yeah. Reaches very, very talented. 105 00:06:17,800 --> 00:06:20,700 But I don't know. For what reason, I don't really 106 00:06:20,700 --> 00:06:24,300 work much in Italy. I work mostly in America and 107 00:06:24,300 --> 00:06:27,000 France a lot, but not so much in Italy. 108 00:06:27,300 --> 00:06:30,200 When I asked why they say that, they feel that I'm a little bit 109 00:06:30,200 --> 00:06:32,000 of a hybrid. I'm not. 110 00:06:32,100 --> 00:06:36,100 Not completely Italian because I lived all my adult life abroad 111 00:06:36,100 --> 00:06:39,100 and and but them and I'm Italian. 112 00:06:39,100 --> 00:06:43,500 So they don't know how to place me and always had that problem. 113 00:06:43,500 --> 00:06:47,500 You know that I could never be cast as a family because in 114 00:06:47,500 --> 00:06:50,300 English I have an accent and all of a sudden you say well why is 115 00:06:50,300 --> 00:06:52,000 that sister speaking differently? 116 00:06:52,200 --> 00:06:54,800 So that was always an in Italian. 117 00:06:54,900 --> 00:06:59,000 Although Italy Italian is my first language, but my mom was 118 00:06:59,000 --> 00:07:01,200 Swedish. She was the actress Ingrid 119 00:07:01,200 --> 00:07:05,500 Bergman and I Not in France. So even in Italian I don't have 120 00:07:05,500 --> 00:07:11,100 an accent but I don't roll my ours, which is I say the French 121 00:07:11,200 --> 00:07:17,100 are so for example, my last name is rosellini as for lucidly me 122 00:07:17,100 --> 00:07:21,900 but in each added me would be rosellini brought some Aroma as 123 00:07:21,900 --> 00:07:26,000 a home grown. So I have also can't it's not an 124 00:07:26,000 --> 00:07:30,900 accent but I have some letters that I pronounced differently. 125 00:07:32,400 --> 00:07:36,800 You know, I recently for the first time dubbed myself and 126 00:07:36,800 --> 00:07:42,200 Italian now that is really hard. Don't be very difficult hard and 127 00:07:42,200 --> 00:07:46,600 I think dub it because you lose a lot of lose you lose tone, you 128 00:07:46,600 --> 00:07:49,000 lose breath. And the Italians are very proud 129 00:07:49,000 --> 00:07:51,900 of their job in quite variable. It's terrible. 130 00:07:51,900 --> 00:07:56,300 I, I prefer subtitles any day. Even though there's a feeling of 131 00:07:56,300 --> 00:08:00,300 reduction of the text and all that it you into it a lot just 132 00:08:00,300 --> 00:08:05,700 by the tonal, And that the breath and sometimes even the 133 00:08:05,700 --> 00:08:08,600 accent, even if you understand, don't understand the word, it's 134 00:08:08,600 --> 00:08:12,600 music, you know? But I did it and it was very 135 00:08:12,600 --> 00:08:16,900 difficult and we got it to an okay place I thought but then I 136 00:08:16,900 --> 00:08:19,900 couldn't resist because I was kind of curious because it was a 137 00:08:19,900 --> 00:08:24,400 release for it was the film that a shot with Abel Ferrara who 138 00:08:24,400 --> 00:08:28,100 I've worked with a lot in Italy. But for the video release, it 139 00:08:28,100 --> 00:08:30,100 was dubbed. And so I was curious. 140 00:08:30,100 --> 00:08:34,299 So I went online to see See like the Triangular dubbed. 141 00:08:34,500 --> 00:08:38,700 Anyone that has any interest in following me, they're used to 142 00:08:38,708 --> 00:08:42,500 hearing the dubbed in another language in an inadvertent avoid 143 00:08:42,900 --> 00:08:46,300 voice. So it was disturbing to hear my 144 00:08:46,300 --> 00:08:50,300 voice in Italian and I played a foreigner so I could have an 145 00:08:50,300 --> 00:08:53,900 accent still. It wasn't that you mentioned. 146 00:08:53,900 --> 00:08:57,300 That it also be. The reason why I don't work so 147 00:08:57,300 --> 00:09:01,700 much in Italy because I am known because also my parents were 148 00:09:01,700 --> 00:09:06,200 very Known and all that. But but and they know my voice 149 00:09:06,200 --> 00:09:08,200 because I've worked on television in Italy. 150 00:09:08,700 --> 00:09:11,500 I don't up my film because I found it so different. 151 00:09:11,500 --> 00:09:16,000 So just to explain if somebody did, here's his podcast in 152 00:09:16,000 --> 00:09:18,300 Italy. All the films that are foreign 153 00:09:18,500 --> 00:09:22,700 not subtitle but they are dubbed and often these people that 154 00:09:22,700 --> 00:09:26,700 dubbed the film are very known in Italy and very revered, but 155 00:09:26,700 --> 00:09:30,500 you might have Robert De Niro and Al Pacino and Dustin Hoffman 156 00:09:30,500 --> 00:09:33,200 have saying Perce. First and dubbing them. 157 00:09:33,400 --> 00:09:38,300 So the voice is gone is a fantastic interpretation of what 158 00:09:38,300 --> 00:09:42,700 they do, but it is not, it doesn't make the person it does. 159 00:09:42,700 --> 00:09:46,800 You don't identify actors Friday voices, especially foreign 160 00:09:46,800 --> 00:09:49,100 actors. But Fellini said something 161 00:09:49,100 --> 00:09:52,200 interesting because, you know, in America, everybody was so 162 00:09:52,200 --> 00:09:57,600 shocked about Italian dubbing I actors, and believe he said, 163 00:09:57,700 --> 00:10:00,700 when it was, it was, it worked with my father in a new him, 164 00:10:00,700 --> 00:10:03,400 riddles, a little girl. That, I don't understand it, you 165 00:10:03,400 --> 00:10:07,000 know, but I can create a whole character by using dubbing 166 00:10:07,000 --> 00:10:12,000 because I can take a very big man and have a little girl, the 167 00:10:12,000 --> 00:10:13,900 beam. And there you have, you have a 168 00:10:13,908 --> 00:10:16,600 character that immediately stank, but he was a 169 00:10:16,600 --> 00:10:19,200 caricaturist. He made a lot of drawing with 170 00:10:19,200 --> 00:10:22,400 caricature. And so, I understand that use of 171 00:10:23,400 --> 00:10:27,700 you can create a person, or you create a character, but I find 172 00:10:27,700 --> 00:10:31,100 it when I grew up in it I went to see all the film does 173 00:10:31,100 --> 00:10:34,900 including my mom Um, Ingrid Bergman Casablanca notorious. 174 00:10:34,900 --> 00:10:39,000 I see the mold up at first and he didn't disturb me, but now 175 00:10:39,000 --> 00:10:42,300 that I hear the original, I have a hard time hearing films that 176 00:10:42,300 --> 00:10:43,700 are dubbed. Sure. 177 00:10:44,000 --> 00:10:48,600 I, when you're talking about the same voice for Dustin Hoffman 178 00:10:48,600 --> 00:10:52,300 and Al Pacino, and Robert De Niro famously, this this movie 179 00:10:52,300 --> 00:10:57,300 Heat and the Niro and Pacino had Saints together and they were in 180 00:10:57,300 --> 00:11:00,500 crisis, because they have the same voice in Italian. 181 00:11:00,800 --> 00:11:03,200 So when it was released Standard Italy. 182 00:11:03,500 --> 00:11:05,600 It had. A lot of trouble finding 183 00:11:05,600 --> 00:11:09,600 commercial traction even though they were wildly popular actor. 184 00:11:09,600 --> 00:11:13,600 It's because people confuse that one of them did not have their 185 00:11:13,600 --> 00:11:18,000 regular voice, pretty strange. You strange just one second 186 00:11:18,100 --> 00:11:22,000 because I'd put something in the oven, but I want to turn it. 187 00:11:22,000 --> 00:11:23,800 I don't want to burn my lung. What is it? 188 00:11:24,000 --> 00:11:27,000 What is it? Okay, pal, me Jonah. 189 00:11:27,300 --> 00:11:31,700 Okay. And it just felt like something 190 00:11:31,700 --> 00:11:34,800 was burned. Okay, it's okay Willam. 191 00:11:34,800 --> 00:11:38,300 You've worked with so many directors. 192 00:11:39,100 --> 00:11:42,100 Can I'm going to list a few because I don't think there is 193 00:11:42,100 --> 00:11:44,200 anybody who work with so many directors. 194 00:11:44,200 --> 00:11:49,900 If you have Scorsese, a Wes Anderson lost won't hear, Tony 195 00:11:49,900 --> 00:11:53,300 Scott, Oliver Stone, David Lynch, Paul Schrader beam 196 00:11:53,300 --> 00:11:58,600 vendors, Julian, Schnabel Abel, Ferrara, of course, David 197 00:11:58,600 --> 00:12:02,000 cronenberg's Spike Lee, In sales and get Oculus. 198 00:12:02,100 --> 00:12:04,400 I mean, amazing. I don't think there is anybody 199 00:12:04,400 --> 00:12:07,700 who has worked with so many different directors, and 200 00:12:07,700 --> 00:12:11,800 sometimes you work with servants and films with the same director 201 00:12:11,800 --> 00:12:13,900 writer, director is very important to me. 202 00:12:14,000 --> 00:12:17,500 I love a strong director because I feel like then I can relax and 203 00:12:17,500 --> 00:12:20,000 really give myself to the project. 204 00:12:20,100 --> 00:12:24,400 I don't, I don't worry, I feel much free, but I appreciate that 205 00:12:24,400 --> 00:12:28,100 because if I'm left to my own devices, I'm sure I go to the 206 00:12:28,100 --> 00:12:32,500 same, well, all the time. It takes a certain kind of 207 00:12:32,500 --> 00:12:38,000 intervention or certain kind of discipline to be open each time 208 00:12:38,000 --> 00:12:39,800 to kind of recreate your process. 209 00:12:39,800 --> 00:12:42,200 And I think that's very important, and of course, 210 00:12:42,200 --> 00:12:46,200 there's some go to things, are there some Tendencies you have, 211 00:12:46,200 --> 00:12:49,600 but I always find it most rewarding if I could, that's 212 00:12:49,600 --> 00:12:53,200 kind of taken away from me. If I know why I'm doing a 213 00:12:53,208 --> 00:12:55,800 project then I don't worry about the result. 214 00:12:55,800 --> 00:12:59,700 If I like the people, if I like their work, if it inspires vase 215 00:12:59,700 --> 00:13:04,700 inspire That I try to be there for them and that frees me 216 00:13:04,800 --> 00:13:08,400 ultimately it's a selfish goal of because then I feel like I do 217 00:13:08,400 --> 00:13:12,700 my best work that way but the truth is, if you go towards 218 00:13:12,700 --> 00:13:17,000 someone else's Vision that's not yours, it makes you Freer, I 219 00:13:17,000 --> 00:13:23,900 think so you want someone there, really strong and personal view 220 00:13:23,900 --> 00:13:26,900 of things. You don't just want to stylist, 221 00:13:27,000 --> 00:13:29,400 then you're kind of interchangeable and then it kind 222 00:13:29,400 --> 00:13:32,600 of becomes a crash. Again, you want to get in their 223 00:13:32,600 --> 00:13:36,600 head and try to complete the world that they create. 224 00:13:36,600 --> 00:13:39,200 I mean, look, something as simple as. 225 00:13:39,500 --> 00:13:43,900 When we both worked with David Lynch on, you worked with him on 226 00:13:44,800 --> 00:13:46,900 copy with frostbite, get Hearts, it, digitally. 227 00:13:46,900 --> 00:13:48,900 What about Wild at Heart? We did together. 228 00:13:49,400 --> 00:13:53,700 And I remembered that was like the, there's a logic, we were 229 00:13:53,700 --> 00:13:57,400 there, too. It's a complete that world. 230 00:13:57,400 --> 00:14:01,500 Yes, II to for me. Working with different 231 00:14:01,500 --> 00:14:05,500 directors. If they have a brilliant mind 232 00:14:05,500 --> 00:14:09,900 and if the you know you just, I would say to enter into their 233 00:14:09,900 --> 00:14:13,700 brain is like taking it to re-stick trip into some batters 234 00:14:13,700 --> 00:14:18,700 one person intelligence and I also the most satisfactory is 235 00:14:18,700 --> 00:14:22,700 when you can make their idea come more alive. 236 00:14:23,000 --> 00:14:25,800 So that instead of saying, I see the character like this and 237 00:14:25,800 --> 00:14:30,000 fight it, you say no, okay. What are you see and you search 238 00:14:30,200 --> 00:14:32,900 with Them. Because sometimes the ideas, 239 00:14:33,100 --> 00:14:36,400 David used to say to me, sometimes he dies is like, thin 240 00:14:36,400 --> 00:14:37,700 eyes. I know it's right. 241 00:14:37,700 --> 00:14:42,000 But I need and I mean, David directs like this, you know, it 242 00:14:42,000 --> 00:14:45,600 doesn't really verbalize what he wants, but he you showed you 243 00:14:45,600 --> 00:14:49,900 strata scene with some mood and you can see from his face, if 244 00:14:49,900 --> 00:14:54,200 he's happy or not and if he smiles and he's very happy, go 245 00:14:54,200 --> 00:14:58,200 more in that direction and it's a back and forth until, you 246 00:14:58,200 --> 00:15:00,300 know, it shaped the scene is shaped. 247 00:15:00,400 --> 00:15:02,900 It. And that to me, I like that 248 00:15:02,900 --> 00:15:05,600 process. I like the process of making 249 00:15:05,600 --> 00:15:09,000 feminine very much because he's a collector estimator. 250 00:15:09,000 --> 00:15:13,600 I and personally, that's always more interesting than the film. 251 00:15:15,500 --> 00:15:17,300 Yes. Or when the film comes out 252 00:15:17,300 --> 00:15:19,500 people think. I mean sometimes I said the best 253 00:15:19,500 --> 00:15:23,100 room is the one that we don't have to present to the press and 254 00:15:23,100 --> 00:15:28,000 have all the reviews and read all the bad reviews and the red 255 00:15:28,000 --> 00:15:30,300 carpets, it means to me is really the process. 256 00:15:30,500 --> 00:15:34,700 It's not so much the release when the films are released. 257 00:15:34,700 --> 00:15:37,800 Of course, we have to be released and we want them to be 258 00:15:37,800 --> 00:15:40,000 successor. But that is the part that I like 259 00:15:40,000 --> 00:15:41,900 the least. Yeah, I agree. 260 00:15:41,900 --> 00:15:45,400 But I like that fine too, because it's so connected to, 261 00:15:45,600 --> 00:15:49,100 you know, doing more and getting the film out there and I'm down 262 00:15:49,100 --> 00:15:52,300 with that, I guess. I feel more like I love the 263 00:15:52,600 --> 00:15:57,800 adventure of making a film and and it's probably why I'm not a 264 00:15:57,800 --> 00:16:00,300 director. I think you have to let a low. 265 00:16:00,400 --> 00:16:04,500 Responsibility. Go about where you're going, you 266 00:16:04,500 --> 00:16:07,200 know what, the film's going to be, and you have to just be 267 00:16:07,200 --> 00:16:09,100 there to receive what's going on. 268 00:16:09,700 --> 00:16:13,300 And if you can get that place and you can have the right 269 00:16:13,500 --> 00:16:17,700 situation and whether it's an exotic thing or something very 270 00:16:17,700 --> 00:16:20,900 close to you, whatever it is. It's a good way to live. 271 00:16:20,900 --> 00:16:25,300 It's stimulating and it feels useful because you're working 272 00:16:25,300 --> 00:16:30,300 with the team to make something that's either going to inspire 273 00:16:30,400 --> 00:16:35,000 Them or distract them or make them laugh or something. 274 00:16:35,200 --> 00:16:38,200 So, you know, I'm happy as a clam when I'm working. 275 00:16:38,800 --> 00:16:40,300 Yeah, me, too. I like that. 276 00:16:40,500 --> 00:16:45,000 Do you find yourself happier to work with some director? 277 00:16:45,000 --> 00:16:49,000 And some were more difficult where some of the research to 278 00:16:49,100 --> 00:16:52,600 express, what they were looking for, was more difficult than 279 00:16:52,600 --> 00:16:55,100 others? I would imagine, I think so. 280 00:16:55,100 --> 00:16:58,500 I I always get scared when an actor that when I director 281 00:16:58,500 --> 00:17:00,000 thinks, he knows what the actors. 282 00:17:00,400 --> 00:17:06,300 Jesse's and tries to speak actors language, because like, 283 00:17:06,599 --> 00:17:10,599 you know, everyone's different and you I've met, I've worked 284 00:17:10,599 --> 00:17:13,900 with some directors. I'm sure you have to wear, you 285 00:17:13,900 --> 00:17:16,700 know, the smart enough to note that they have to deal with 286 00:17:16,800 --> 00:17:20,300 every actor differently particular in the state, but not 287 00:17:20,300 --> 00:17:23,800 just in the States. But, you know, beautiful thing 288 00:17:23,800 --> 00:17:29,400 about film is there isn't a cookie cutter education for it. 289 00:17:29,400 --> 00:17:34,200 So sometimes you Working with people that used to be models or 290 00:17:34,200 --> 00:17:38,800 people that used to be a cook or someone that was a driver, you 291 00:17:38,800 --> 00:17:40,300 know? It's a mixed bag. 292 00:17:40,300 --> 00:17:43,400 Some are classically trained, summer, theater actors. 293 00:17:43,400 --> 00:17:48,400 It's a mixed bag and everybody, there's no uniform system, so 294 00:17:48,400 --> 00:17:53,900 you have to treat everybody. Kind of see what they need and 295 00:17:53,900 --> 00:17:58,000 see what you need. And it's a nice social meeting 296 00:17:58,000 --> 00:18:01,500 every time, I think you've got Such an interesting career. 297 00:18:01,500 --> 00:18:04,900 Last time I saw you you know, you would it's a long time ago, 298 00:18:04,900 --> 00:18:06,600 actually. I probably seen you since but I 299 00:18:06,608 --> 00:18:11,000 mean last time I saw you at like a screening or something of 300 00:18:11,000 --> 00:18:18,100 something. You did was green porno director 301 00:18:18,100 --> 00:18:24,400 myself now. And also also, you always 302 00:18:24,400 --> 00:18:28,100 surprise me by the choices you make and they're so different 303 00:18:28,100 --> 00:18:31,100 and so eclectic. And I like it a lot. 304 00:18:31,100 --> 00:18:35,100 I don't catch everything, but I'm always happy to see you. 305 00:18:35,100 --> 00:18:40,400 And, I'm always personally. I've said it before, and I don't 306 00:18:40,400 --> 00:18:45,000 want to embarrass you, but your maybe it's your upbringing, but 307 00:18:45,000 --> 00:18:48,800 you're so elegant and So Graceful, So Graceful. 308 00:18:48,800 --> 00:18:52,600 So Graceful with people socially, I think and a lot of 309 00:18:52,600 --> 00:18:56,700 actors don't have that quality because they're scared, and 310 00:18:56,700 --> 00:19:02,300 they're, and they're wrong. Worried about offending. 311 00:19:02,300 --> 00:19:04,200 People are speaking their mind, you know. 312 00:19:04,900 --> 00:19:09,200 Yes, actors are generally. I mean, it's hard to generalized 313 00:19:09,500 --> 00:19:15,600 but actors shy, surprisingly, most people are very shy, I 314 00:19:15,600 --> 00:19:19,000 mean, my mom for example. She said, always, she wasn't she 315 00:19:19,000 --> 00:19:24,300 was a very shy person and acting because she wasn't herself. 316 00:19:24,600 --> 00:19:28,300 She felt when I'm on stage or on the film said I feel like a lion 317 00:19:28,700 --> 00:19:32,900 and also Knowing the story. She always said, I'm always 318 00:19:32,900 --> 00:19:37,200 anxious about life but in a film I know what is the tech scene 319 00:19:37,500 --> 00:19:40,000 and I know what the character is ending up. 320 00:19:40,000 --> 00:19:43,000 And so that was so in the moment it, she was acting, she felt 321 00:19:43,000 --> 00:19:48,800 agreed to release, you know, a great freedom, and happiness. 322 00:19:49,400 --> 00:19:55,200 I'm not as shy as my mom and but I think I had I'm a raconteur. 323 00:19:55,200 --> 00:19:59,500 So I like to tell stories and I like to work with directors, me 324 00:19:59,500 --> 00:20:01,600 too. These very, very important to, 325 00:20:02,400 --> 00:20:06,300 you know, when I sometimes I read a script but most of all I 326 00:20:06,308 --> 00:20:09,900 want to know who's going to direct and sometimes a script is 327 00:20:09,900 --> 00:20:12,500 just a vague indication of something. 328 00:20:13,800 --> 00:20:18,800 But if I meet the person or seen the work that I've done before, 329 00:20:20,800 --> 00:20:23,500 that's what I want to work with. I have to tell you a story about 330 00:20:23,500 --> 00:20:28,400 Bob Wilson, was I work with Bob to so Bob Wilson proposed to me. 331 00:20:29,100 --> 00:20:36,100 At play by Umberto Eco, and I read the script, I didn't 332 00:20:36,100 --> 00:20:40,600 understand anything. So I read the book, I'm back to 333 00:20:40,600 --> 00:20:42,800 Waco. I didn't understand anything. 334 00:20:42,800 --> 00:20:46,800 So I went with, I said, I have to have the courage to Bob wants 335 00:20:46,800 --> 00:20:49,100 it that way. Exactly, you know him. 336 00:20:49,500 --> 00:20:55,400 So I went to Trembling saying, Bob, I I want to work with you 337 00:20:55,400 --> 00:21:00,000 so badly, and I was so happy that you Ask me to do this thing 338 00:21:00,000 --> 00:21:02,500 that I have to be really sincere. 339 00:21:02,700 --> 00:21:05,200 I don't understand the script and I read the book and I don't 340 00:21:05,200 --> 00:21:08,800 understand the book. He said me neither, you don't 341 00:21:08,800 --> 00:21:11,300 understand it. You said we course. 342 00:21:11,500 --> 00:21:14,900 I don't understand it because I'm attracted to mystery, but 343 00:21:14,900 --> 00:21:17,800 there is a rhythm in the world words, isn't it? 344 00:21:18,000 --> 00:21:20,200 And when you read you back Touareg, do you doesn't really 345 00:21:20,200 --> 00:21:22,500 make sense. But your little scared. 346 00:21:22,600 --> 00:21:25,500 I said, yes, I am a little scared, that's what I want to 347 00:21:25,500 --> 00:21:28,300 capture and that to me, was such a lesson. 348 00:21:28,400 --> 00:21:32,200 First of all, Only freed me from this narrative that it has to 349 00:21:32,200 --> 00:21:38,200 always make sense because abstract, paintings exist, it's 350 00:21:38,200 --> 00:21:42,600 not only figurative painting. So a film can also be abstract 351 00:21:42,600 --> 00:21:47,500 and he's to mood that you look and David Lynch to talk about 352 00:21:47,500 --> 00:21:52,000 another surrealist one day where I said, well maybe here to film 353 00:21:52,000 --> 00:21:54,000 is not, I don't understand the story. 354 00:21:54,200 --> 00:21:56,200 He said, why do you understand life? 355 00:21:57,000 --> 00:22:01,200 So also for David, it was capturing the mood, we don't 356 00:22:01,200 --> 00:22:03,600 understand life. We enter into a room and there 357 00:22:03,600 --> 00:22:06,600 is already a mood of people are convivial up. 358 00:22:06,600 --> 00:22:10,000 There is tension. We don't know, we just adapt but 359 00:22:10,300 --> 00:22:13,400 we don't know what's going on or what had happened before, and 360 00:22:13,400 --> 00:22:16,600 that's what is interesting to David and that was to me. 361 00:22:16,600 --> 00:22:20,200 So liberating, when you work with directors like that, I 362 00:22:20,200 --> 00:22:24,700 agree in both those cases, Bob Bob Wilson is famous for saying 363 00:22:25,100 --> 00:22:28,600 I never asked him a To know what he's thinking. 364 00:22:28,800 --> 00:22:30,700 That's not really what he's interested in. 365 00:22:31,100 --> 00:22:35,700 You want some actor to submit to his form to his language? 366 00:22:36,000 --> 00:22:38,700 You know you're like a marvelous. 367 00:22:38,700 --> 00:22:44,900 Marionette is the Bishops of when you have that form you can 368 00:22:44,900 --> 00:22:49,000 live and you can explore what's going on in a very deep way 369 00:22:49,000 --> 00:22:53,900 because a part of your brain and a part of your energy isn't is 370 00:22:54,300 --> 00:22:58,500 submitted to a kind of perfection and also 371 00:22:59,200 --> 00:23:03,800 artificiality that creates sometimes a mystery. 372 00:23:03,800 --> 00:23:09,700 And the question it isn't always narrative that you can hop on 373 00:23:10,000 --> 00:23:14,900 and then you can be emotionally engaged but then the story ends 374 00:23:15,000 --> 00:23:18,700 and you relate to it and it's complete and you feel good. 375 00:23:18,800 --> 00:23:23,300 But I think in many ways I'm interested in more poetic 376 00:23:23,300 --> 00:23:28,200 theater and a more poetic film that S, it engages you, but 377 00:23:28,200 --> 00:23:35,000 engages you through your brain because when you, when things 378 00:23:35,000 --> 00:23:39,100 are puzzling or things are curious, you don't know. 379 00:23:39,200 --> 00:23:44,000 And ultimately, they involve you more emotionally in the end, I 380 00:23:44,000 --> 00:23:49,200 think, because when things are recognizable, it's a beautiful 381 00:23:49,200 --> 00:23:51,800 fun thing. But you hop on a train and you 382 00:23:51,808 --> 00:23:56,000 kind of enjoy the ride, but you're not going step by step 383 00:23:56,000 --> 00:23:58,200 you. Variance in it and same way that 384 00:23:58,200 --> 00:24:02,700 your experience, poetry, poetry, you know, poetry, and in the 385 00:24:02,700 --> 00:24:07,800 broadest sense of the word in poetry also, by its Nature has 386 00:24:07,800 --> 00:24:10,100 always an ambiguity that life has. 387 00:24:10,500 --> 00:24:12,400 Do I like this? But I don't like that. 388 00:24:12,400 --> 00:24:16,100 I like it and don't like, you know, but that ambiguity is to 389 00:24:16,100 --> 00:24:19,500 get is the brain that it's, for me animals, make me laugh. 390 00:24:19,600 --> 00:24:22,100 So I'm looking at David Attenborough, look at National 391 00:24:22,100 --> 00:24:24,700 Geographic, and it's great, but it exists already. 392 00:24:25,000 --> 00:24:29,600 So when I wanted to Spread. Something that was in my heart. 393 00:24:29,800 --> 00:24:36,000 I said, it's the animal are so funny and so mysterious and so 394 00:24:36,000 --> 00:24:39,000 crazy. And so I created a free will. 395 00:24:39,300 --> 00:24:44,300 Yes, I created this little Puppet Theater with myself that 396 00:24:44,300 --> 00:24:47,800 I think captures do humor and it's always give the 397 00:24:47,800 --> 00:24:50,800 scientifically because not only that, I even went back to 398 00:24:50,800 --> 00:24:53,600 University to get a master degree in animal behavior and 399 00:24:53,600 --> 00:24:57,100 conservation, because the subject interests are Much. 400 00:24:57,900 --> 00:25:02,800 And I have to say that having worked with many other directors 401 00:25:03,100 --> 00:25:05,700 or do I make these teeny film and his monologues? 402 00:25:05,700 --> 00:25:08,900 You know, I can't compare myself to the greatest, it's always 403 00:25:08,900 --> 00:25:13,100 starts from a point of poetry, it always starts from a feeling 404 00:25:13,100 --> 00:25:17,500 that I have and I want to share and the style that I make the 405 00:25:17,500 --> 00:25:20,300 film. It's a consequence of it to 406 00:25:20,300 --> 00:25:23,500 represent the best. The feeling in ever starts with 407 00:25:23,500 --> 00:25:26,500 the style and then goes into the feeling. 408 00:25:28,300 --> 00:25:31,300 At least for me you do know I'm with you. 409 00:25:31,500 --> 00:25:33,900 I'm with you can we talk about Abel Ferrara? 410 00:25:33,900 --> 00:25:38,400 How easy he was the craziest director I've worked with, is he 411 00:25:38,400 --> 00:25:43,500 behaving more is he tamed and you tamed him really you know, 412 00:25:43,500 --> 00:25:49,700 he's got a hide, his habits turn, his character are very 413 00:25:49,700 --> 00:25:53,700 Forefront so to talk about him is never gossiping, I guess, 414 00:25:53,700 --> 00:25:57,600 because he lays it all out there, I worked with Abel. 415 00:25:58,000 --> 00:26:02,100 You know when he had when he was living a certain kind of life 416 00:26:02,500 --> 00:26:08,200 and then I've worked with him since he's cleaned up his life 417 00:26:08,500 --> 00:26:12,500 and he's basically the same person. 418 00:26:13,900 --> 00:26:17,600 It's very good lesson. What is it is actually is 419 00:26:18,500 --> 00:26:20,500 basically the same person I'd say. 420 00:26:20,500 --> 00:26:25,600 Just there's a trust there, you know, when someone is addicted. 421 00:26:26,900 --> 00:26:29,700 They have a God that always separates, you know, you from 422 00:26:29,700 --> 00:26:32,700 them particularly when you're working on something and he 423 00:26:32,700 --> 00:26:36,200 says, I got to go, you guys do the same, I'll be back. 424 00:26:37,400 --> 00:26:42,300 That's a problem, but there's none of that anymore. 425 00:26:42,300 --> 00:26:49,300 He's, you know, he's living, he's my neighbor here in the 426 00:26:49,300 --> 00:26:53,500 city in Rome and we're very good friends and we've made many 427 00:26:53,500 --> 00:26:56,800 films together. He's made to lately. 428 00:26:57,200 --> 00:27:04,100 Very quickly without me bastard but no actually we keep in 429 00:27:04,100 --> 00:27:07,900 touch. I was busy and he he he's one of 430 00:27:07,900 --> 00:27:09,300 the beautiful things about the table. 431 00:27:09,300 --> 00:27:13,000 Is he works with nothing and he likes to make movies. 432 00:27:13,000 --> 00:27:17,100 He's a shooter. So he absolutely said he's our 433 00:27:17,100 --> 00:27:23,500 best quality, he's always working and He's his sets are 434 00:27:23,500 --> 00:27:25,800 wild. They're chaotic is hell. 435 00:27:26,300 --> 00:27:30,100 And one of the most difficult things to do in post is to 436 00:27:30,100 --> 00:27:34,500 remove his voice from the shooting because even when 437 00:27:34,500 --> 00:27:38,600 you're shooting like the most intimate, most vulnerable, you 438 00:27:38,600 --> 00:27:42,000 know, sex scene or something, he's screaming the whole 439 00:27:42,000 --> 00:27:45,600 talking, so it's like a discipline. 440 00:27:45,800 --> 00:27:50,000 He's screaming directions. Sometimes, I have to say that I 441 00:27:50,000 --> 00:27:51,700 didn't know, sorry, I didn't know. 442 00:27:52,400 --> 00:27:55,400 When I did, I did with him a film that is very beautiful. 443 00:27:55,400 --> 00:27:57,500 I really liked. I remember on the railroad. 444 00:27:57,700 --> 00:27:59,100 Yeah. Yeah, I know. 445 00:27:59,400 --> 00:28:04,600 And I also love to work with Abel it was very chaotic and I 446 00:28:04,600 --> 00:28:09,200 really didn't know because most film is action cut and then you 447 00:28:09,200 --> 00:28:11,400 know where you're seeing is on. I didn't know. 448 00:28:11,400 --> 00:28:14,600 It is so much chaotic that I just stay in character all the 449 00:28:14,600 --> 00:28:18,500 time because I didn't know and there was a lot of improvisation 450 00:28:18,500 --> 00:28:21,800 of little dialogue, but even in these scales, there was a A 451 00:28:21,808 --> 00:28:24,400 Clarity of his Direction, really? 452 00:28:24,400 --> 00:28:28,100 What you wanted to capture? I really admired him but you 453 00:28:28,100 --> 00:28:33,900 know talking about addiction because I mean it's no secret 454 00:28:33,900 --> 00:28:38,000 that they that then that Abel had the problem in his now 455 00:28:38,000 --> 00:28:42,300 solving it I will treat any stopper in blue velvet and 456 00:28:42,300 --> 00:28:47,500 Dennis had just come out of rehab for three years and I 457 00:28:47,500 --> 00:28:51,600 remember I had been already hired in blue velvet and David 458 00:28:51,800 --> 00:28:57,300 It was looking for the character of that Dennis Hopper played in 459 00:28:57,300 --> 00:29:01,000 blue velvet. And when he found Dennis Hopper 460 00:29:01,000 --> 00:29:04,000 said, oh, Dennis Hopper, because of course he had the worst 461 00:29:04,000 --> 00:29:09,900 reputation in the business. I said how easy and David said, 462 00:29:10,100 --> 00:29:13,900 is life, sitting next to a ticking bomb, that's how he 463 00:29:13,900 --> 00:29:19,200 described. But actually he worked with 464 00:29:19,200 --> 00:29:23,700 working with him, it was one of the most A profound experience 465 00:29:23,800 --> 00:29:27,600 inside the had because Danny's had no more judgement he had 466 00:29:27,600 --> 00:29:33,300 been so down on himself and he had experienced really hell and 467 00:29:33,300 --> 00:29:37,000 came out of it that working with him and he's very difficult 468 00:29:37,000 --> 00:29:41,000 scenes of rape and all that he was the perfect partner. 469 00:29:41,000 --> 00:29:45,700 I felt completely protected by him as a human being that he was 470 00:29:45,700 --> 00:29:48,000 playing this evil man that was deserve. 471 00:29:48,500 --> 00:29:51,600 Raping me in at Richwood High. Remember character energy? 472 00:29:51,800 --> 00:29:57,300 Music way it may, I ask him. How did you end up being a drug 473 00:29:57,300 --> 00:29:59,500 addict and having to come out of it? 474 00:29:59,900 --> 00:30:04,500 And he said, you know, maybe it was the 60s drugs over around 475 00:30:04,500 --> 00:30:07,700 and all that. But I believed for a long time 476 00:30:07,700 --> 00:30:12,000 that I needed to drugs in order to act because I was so shy and 477 00:30:12,000 --> 00:30:15,500 so intimidated as so afraid that I wasn't good enough, they do 478 00:30:15,500 --> 00:30:20,000 draw gave me that confidence and this is the first film that I do 479 00:30:20,000 --> 00:30:24,800 completely clean. And And it was so happy to work 480 00:30:24,800 --> 00:30:28,700 so well and the film went so well, and he got so much, 481 00:30:28,700 --> 00:30:30,300 praise. So yeah. 482 00:30:30,300 --> 00:30:32,800 Sometimes the people they go through that Journey. 483 00:30:33,800 --> 00:30:38,800 The most wise is in it. I'm hesitant to say, but because 484 00:30:39,100 --> 00:30:42,600 it's, I always disliked when actors talk about what a should 485 00:30:42,600 --> 00:30:45,400 have, could have kind of stories, but do you know, I was 486 00:30:45,400 --> 00:30:50,300 at the gulf Western Building and they told me to go up to dino De 487 00:30:50,300 --> 00:30:55,600 Laurentiis his office Meet him. And that's where I first met 488 00:30:55,700 --> 00:31:01,300 David. And they had me read blue velvet 489 00:31:02,000 --> 00:31:07,900 and they said basically we think we've got a frankbooth roll 490 00:31:07,900 --> 00:31:13,700 cast, but we're not sure. Because he could, you could have 491 00:31:13,700 --> 00:31:15,900 played because you often play a villain. 492 00:31:16,200 --> 00:31:18,500 So they were going to, you are going to do the Dennis Hopper 493 00:31:18,500 --> 00:31:21,100 room, what happened? Don't dance. 494 00:31:21,100 --> 00:31:25,300 I don't say that it was like, clearly, they probably were a 495 00:31:25,300 --> 00:31:28,300 little nervous about their nests or the deal wasn't done, and 496 00:31:28,300 --> 00:31:30,700 they wanted to have someone waiting in the wings. 497 00:31:30,700 --> 00:31:35,500 Well, I, you know, I met David Lynch in a restaurant and I was 498 00:31:35,500 --> 00:31:40,300 having dinner with, you know, De Laurentiis wife who died 499 00:31:40,300 --> 00:31:43,600 recently has done such Wonderful, lady and another 500 00:31:43,600 --> 00:31:46,600 friend. And David was sitting in a table 501 00:31:47,400 --> 00:31:52,200 in the same restaurant with one of Dino De Laurentiis 502 00:31:52,200 --> 00:31:54,600 son-in-law. So we joined the table, we all 503 00:31:54,600 --> 00:31:59,500 said together and I didn't know David had not, I mean he had 504 00:31:59,500 --> 00:32:04,300 done Elephant Man, maybe I forgot but it wasn't as normal. 505 00:32:04,300 --> 00:32:08,800 Of course as now and I had just finished a film, but I also work 506 00:32:08,800 --> 00:32:11,700 with Misha Baryshnikov in a film called White Nights. 507 00:32:12,200 --> 00:32:15,500 And the other actress was Helen Mirren, and then the greater 508 00:32:15,600 --> 00:32:19,900 Gregory Hines and David wanted so badly to have Helen Mirren 509 00:32:19,900 --> 00:32:22,200 for Bluebell fit. For the role that I ended up 510 00:32:22,200 --> 00:32:25,400 playing and all the night, he tormented me about. 511 00:32:25,400 --> 00:32:27,600 Can't do you have Helen mirren's phone number? 512 00:32:27,800 --> 00:32:35,400 Can you give it to me dr. And and the next day and hasn't 513 00:32:35,400 --> 00:32:37,700 turned down the film because the film of course is very 514 00:32:37,700 --> 00:32:41,800 controversial and she was she didn't want to be part of I 515 00:32:41,900 --> 00:32:45,300 think it's gone traversed, so that require nudity and all 516 00:32:45,300 --> 00:32:47,900 that. So that is rising because she's 517 00:32:47,900 --> 00:32:50,400 famous for being able to deal with that. 518 00:32:50,700 --> 00:32:55,300 I think the way she explained it to me because over the next day 519 00:32:55,300 --> 00:33:00,000 after dinner, I received sorry and David, a note saying, second 520 00:33:00,000 --> 00:33:02,200 thought, maybe you can play Dorothy balance. 521 00:33:02,200 --> 00:33:03,500 That's the name of the character. 522 00:33:03,700 --> 00:33:07,500 So then we either I rehearse to scene and we so and then spoke 523 00:33:07,500 --> 00:33:09,600 to Helen and I said, why did you turn it down? 524 00:33:09,600 --> 00:33:13,800 But Helen said, no, it is the It is right now this moment in my 525 00:33:13,800 --> 00:33:20,000 life because her husband was getting a divorce to marry her 526 00:33:20,300 --> 00:33:24,100 and she didn't want to be in that moment of divorce and 527 00:33:24,100 --> 00:33:27,200 complication her children in a controversial film. 528 00:33:27,200 --> 00:33:32,500 So and then nobody could have predicted that you velvet became 529 00:33:32,500 --> 00:33:35,600 so known know, it's a beautiful film. 530 00:33:35,600 --> 00:33:37,600 And who would have ever thought that? 531 00:33:38,200 --> 00:33:41,000 It wasn't totally conceived around you D. 532 00:33:41,000 --> 00:33:44,300 Be told me, I He was conceived around Helen Mirren. 533 00:33:44,500 --> 00:33:49,200 David told me that one day when he came back from school, he saw 534 00:33:49,200 --> 00:33:54,300 a woman naked walking down to Street and he started to cry as 535 00:33:54,300 --> 00:33:56,900 he understood that something very wrong at happened. 536 00:33:57,100 --> 00:33:59,500 It wasn't excited, he wasn't titillating. 537 00:33:59,800 --> 00:34:04,400 And that was to image that fragment that sometimes director 538 00:34:04,400 --> 00:34:07,000 grabs with and creates a character. 539 00:34:07,500 --> 00:34:10,100 And I think that that was the fragment that inspired the 540 00:34:10,100 --> 00:34:12,900 character of Dorothy balance. What happened, what was the 541 00:34:12,900 --> 00:34:16,100 story behind this woman? Walked naked industry. 542 00:34:16,400 --> 00:34:18,400 She can't, you know, and that's an edge. 543 00:34:18,400 --> 00:34:21,400 We repeated the scene, and that's why it required that 544 00:34:21,400 --> 00:34:26,100 nudity, that I walk down the street nude bruised, because I 545 00:34:26,107 --> 00:34:31,600 come from, yeah, probably a ritualistic, sadistic a 546 00:34:31,600 --> 00:34:34,699 torturous Raper. Wow, that's a, that's an 547 00:34:35,000 --> 00:34:38,800 incredible story about that. Do we work together in Wild at 548 00:34:38,800 --> 00:34:40,699 Heart? And I remember it took us, it 549 00:34:40,699 --> 00:34:45,300 was quite fun, and Did you so David allowed me in in the films 550 00:34:45,300 --> 00:34:49,300 that I did with him to create a little bit of do look. 551 00:34:49,300 --> 00:34:52,600 So for the character that I played was named her spirit, eat 552 00:34:52,600 --> 00:34:55,300 arango a wonderful. I remember you were my 553 00:34:55,300 --> 00:34:59,200 girlfriend base. Yes, it was your girlfriend and 554 00:34:59,200 --> 00:35:01,000 I because you were such a bad guy. 555 00:35:01,000 --> 00:35:06,100 And we were sexist, sleazy people that I wanted to have 556 00:35:06,500 --> 00:35:10,300 both to bead repellent but also sexy. 557 00:35:10,500 --> 00:35:15,200 So I thought And I thought of Frida Kahlo because the painter 558 00:35:15,200 --> 00:35:20,400 pieter Callo, she's kind of, you know, she has eyebrows that she 559 00:35:20,400 --> 00:35:23,500 had, you know, this is wonderful how sometimes you're gonna 560 00:35:23,500 --> 00:35:27,200 problems stash and yet she's so appealing and attractive. 561 00:35:27,200 --> 00:35:31,900 So I copied a little bit the Frida Kahlo look, I remember 562 00:35:31,900 --> 00:35:35,300 asking David can I have just a little bit of massage. 563 00:35:35,300 --> 00:35:38,700 She said no, that's too much although Patti Smith cage and he 564 00:35:38,700 --> 00:35:41,600 has a little bit of mustache and I found that would be quite 565 00:35:41,900 --> 00:35:43,200 Powerful. You know why? 566 00:35:43,200 --> 00:35:47,600 I didn't just write it was frightening, but attractive, but 567 00:35:47,600 --> 00:35:49,700 David didn't allow me to mistakes, but I had to one 568 00:35:49,700 --> 00:35:51,700 eyebrow. You had those teeth. 569 00:35:52,000 --> 00:35:55,700 So strange, who does that, who chose Jesus? 570 00:35:56,300 --> 00:36:01,500 It was in the script and little story that I always tell it 571 00:36:01,500 --> 00:36:05,100 shows how actors sometimes limit themselves in their imagination. 572 00:36:05,100 --> 00:36:09,100 I've read on the script. It says he has Stumpy discolored 573 00:36:09,100 --> 00:36:15,300 teeth and I just assumed the The I assumed it wasn't a huge. 574 00:36:15,300 --> 00:36:17,800 Huge budget film. So I figured they were just 575 00:36:17,800 --> 00:36:20,400 discolor my teeth because I don't have the most beautiful 576 00:36:20,400 --> 00:36:24,100 teeth in the world as it is. And then when I went to see 577 00:36:24,100 --> 00:36:28,800 David, he was like, we got to get you to the dentist and I 578 00:36:28,808 --> 00:36:34,600 thought He said we got to get those teeth and it ended up that 579 00:36:34,600 --> 00:36:40,200 they made, you know, full dentures that went over my teeth 580 00:36:40,400 --> 00:36:44,600 for these huge gums. These kind of not too healthy 581 00:36:44,600 --> 00:36:48,400 looking gums and these very Stumpy teeth and the thing that 582 00:36:48,400 --> 00:36:52,000 that became the key for the character because when they put 583 00:36:52,800 --> 00:36:56,500 the Dentures over my teeth, I couldn't close my mouth. 584 00:36:57,100 --> 00:36:59,800 So all the time I was like this This. 585 00:37:00,400 --> 00:37:06,000 And I say, if you had to do this, it immediately makes you 586 00:37:06,000 --> 00:37:09,700 feel kind of lascivious. Like you want to suck on 587 00:37:09,700 --> 00:37:12,600 something or you want to say something vulgar, you know, it 588 00:37:12,600 --> 00:37:15,000 was, it was a key to the character. 589 00:37:16,200 --> 00:37:23,300 I feel like Wild at Heart, I had so many externals that worked as 590 00:37:23,300 --> 00:37:26,800 triggers for my imagination that I didn't. 591 00:37:26,800 --> 00:37:31,600 I didn't sweat about preparation or Anything I felt very happy 592 00:37:31,600 --> 00:37:34,500 just to show up on the set there's David is a painter. 593 00:37:34,508 --> 00:37:39,700 So for and he's imagery is uh so strong, it's only photographic 594 00:37:39,700 --> 00:37:43,300 the way cases the camera the set. 595 00:37:43,500 --> 00:37:49,500 I always find costume to be a very important process caused 596 00:37:49,500 --> 00:37:52,200 your makeup because he defines so much. 597 00:37:52,200 --> 00:37:54,500 The character I play. Is it the same for you? 598 00:37:54,900 --> 00:38:00,300 Yes, not only it defines it, but sometimes it can be Be a real 599 00:38:00,300 --> 00:38:03,900 mask you know, it can it can do a lot of work, you know, it's 600 00:38:03,900 --> 00:38:08,000 all it's almost like sometimes I'm not this cynical but you 601 00:38:08,000 --> 00:38:11,500 know, sometimes you're like that the costumes going to do this 602 00:38:11,500 --> 00:38:17,000 one, you know, if it's very strong sometimes you, you don't 603 00:38:17,000 --> 00:38:20,000 have to work it, you have to just be and wear that costume. 604 00:38:20,000 --> 00:38:23,100 Well and then that makes your body move in the certain way 605 00:38:23,400 --> 00:38:27,000 that makes you imagine how people are looking at you in a 606 00:38:27,000 --> 00:38:28,900 certain way. You know, if you have something 607 00:38:28,900 --> 00:38:32,700 that you really Feel good in and you feel like it's strong. 608 00:38:32,800 --> 00:38:35,500 Then you're going to take on that strength in your 609 00:38:35,500 --> 00:38:37,900 performance. If you feel like it's something 610 00:38:37,900 --> 00:38:40,700 really repulsive, then you're going to slide into that 611 00:38:40,700 --> 00:38:44,300 repulsion or if you feel real handsome and you got to be 612 00:38:44,300 --> 00:38:49,900 handsome then you know you know, clothes make the man. 613 00:38:49,900 --> 00:38:53,200 What can I say or the person. Do you have the same thing? 614 00:38:53,200 --> 00:38:56,000 Sorry, because I'm also a model. I'm not only an actress. 615 00:38:56,200 --> 00:38:59,200 Do you have same thing with passion and then his fashion 616 00:38:59,200 --> 00:39:06,400 does, Wearing all your clothes gives you occasionally a mood or 617 00:39:06,400 --> 00:39:09,100 helps you get a mood or not. Definitely. 618 00:39:09,100 --> 00:39:14,800 But I feel like I don't enter that black hole that is fashion, 619 00:39:14,800 --> 00:39:18,500 you know, I like nice clothes and when you feel good in 620 00:39:18,500 --> 00:39:21,500 clothes, it's great. But I tend to wear a uniform. 621 00:39:21,700 --> 00:39:26,500 You know, I always think of that ingmar Bergman with his, you 622 00:39:26,500 --> 00:39:32,200 know, closet of 32. Home Max and one jacket in one 623 00:39:32,200 --> 00:39:35,800 pair of trousers, you know, to me, that is a great definition 624 00:39:35,800 --> 00:39:39,800 of Elegance. I always think that the summit 625 00:39:39,800 --> 00:39:41,900 of Elegance is with somebody, fine. 626 00:39:41,900 --> 00:39:46,500 So I kind of a uniform, I remember working with David. 627 00:39:47,500 --> 00:39:53,400 He also wears the same clothes and I remember going to a French 628 00:39:53,400 --> 00:39:58,700 designer called an ESB, and just helping start the shirt and 629 00:39:58,700 --> 00:40:01,000 khaki pants. It's and the shirt and I think 630 00:40:01,000 --> 00:40:06,000 he still probably where's that? And yes, there is something to 631 00:40:06,000 --> 00:40:09,700 be said about having a uniform because becomes your second 632 00:40:09,700 --> 00:40:12,600 skin, but also close tell who you are. 633 00:40:12,600 --> 00:40:16,600 Of course, when we play the costume, can create an extreme 634 00:40:16,600 --> 00:40:21,700 or something that it isn't us like my big eyebrow and petite 635 00:40:21,700 --> 00:40:25,900 at Durango and Wild at Heart or blue, eyeshadow red lipstick, 636 00:40:25,900 --> 00:40:29,400 black wig, and white and blue velvet. 637 00:40:29,600 --> 00:40:32,000 So in life, I cannot do that extreme. 638 00:40:32,100 --> 00:40:36,200 But I do tend to also have a wardrobe, like IMA. 639 00:40:36,200 --> 00:40:41,400 But the same thing also, because you're revealing yourself 640 00:40:41,400 --> 00:40:44,700 through your choice of your clothes and it's a little bit, 641 00:40:44,700 --> 00:40:47,700 maybe that goes back to the thing about you say about 642 00:40:47,700 --> 00:40:50,500 shyness. I don't think I'm particularly 643 00:40:50,500 --> 00:40:54,300 social Lee elegant. So I guess I'm a little shy so I 644 00:40:54,300 --> 00:40:57,100 don't want to reveal that about me. 645 00:40:57,100 --> 00:41:02,100 I reveal myself through Cara. Actors and things and then who I 646 00:41:02,100 --> 00:41:05,000 really want to reveal myself is a very small circle. 647 00:41:05,100 --> 00:41:08,500 So when you think about presenting yourself to the 648 00:41:08,500 --> 00:41:12,700 world, that's what why the uniform appeals to visit me. 649 00:41:12,900 --> 00:41:17,300 Because people it doesn't Express anything specific, you 650 00:41:17,300 --> 00:41:20,600 know, it puts more emphasis on your body or something. 651 00:41:20,600 --> 00:41:22,200 I don't know. Yes, yeah. 652 00:41:22,500 --> 00:41:25,400 No. Well, I, you know, I, I don't 653 00:41:25,400 --> 00:41:27,400 know. I was said that the Elegance is 654 00:41:27,400 --> 00:41:30,900 to definition the Elegance. They asked, what is the 655 00:41:30,900 --> 00:41:33,800 definition of Elegance? It was said, the definition of 656 00:41:33,800 --> 00:41:36,600 Elegance is not a combination of clothes. 657 00:41:36,700 --> 00:41:40,500 It's a, it's a thought behind the clothes and that's when you 658 00:41:40,500 --> 00:41:44,700 see that click that thought even for you, I want to be, you know, 659 00:41:44,800 --> 00:41:48,000 I'm an actor. I want to be a uniform, very 660 00:41:48,000 --> 00:41:50,700 simple black and black t shirt, black pants. 661 00:41:51,000 --> 00:41:55,200 It means I'm a puppet, I'm a puppet or a puppeteer, and both 662 00:41:55,600 --> 00:41:58,700 and, you know, so to me, that's the definition of Elegance. 663 00:41:58,700 --> 00:42:00,800 But, you know, talking, About, you said it, sometimes the 664 00:42:00,808 --> 00:42:04,900 clothes create a character. I remember reading about Audrey 665 00:42:04,900 --> 00:42:09,500 Hepburn when she did. My fair lady that, you know, she 666 00:42:09,500 --> 00:42:12,900 has to come out in my fair lady and Professor Higgins. 667 00:42:12,900 --> 00:42:16,900 Finally sees big Malian Caesar finale as this beauty. 668 00:42:17,300 --> 00:42:22,800 And she said that to that to clothes, she wore were so 669 00:42:22,800 --> 00:42:26,600 beautifully done. That she also felt the same. 670 00:42:26,800 --> 00:42:28,700 She said, I don't have to do anything. 671 00:42:28,700 --> 00:42:31,900 I just had to stand there because the clothes would do it 672 00:42:31,900 --> 00:42:34,800 for me. And of course, I was think of 673 00:42:34,800 --> 00:42:39,600 that scene because it's that silhouette that beautiful outfit 674 00:42:39,600 --> 00:42:44,200 that she wears in her very simply standing that made that 675 00:42:44,600 --> 00:42:48,400 convey that moment of Revelation to Professor Higgins. 676 00:42:48,500 --> 00:42:52,300 This is a beautiful woman. It's fun to talk about the 677 00:42:52,300 --> 00:42:55,500 stuff, because it always reminds you that You know, when you make 678 00:42:55,500 --> 00:42:59,000 a film where you do it play, it's such a convergence of all 679 00:42:59,000 --> 00:43:03,200 these different choices and all these different contributions 680 00:43:03,200 --> 00:43:06,900 that, you know, sometimes we get a little too, I'm not being 681 00:43:06,900 --> 00:43:10,000 falsely modest, but or koi or anything. 682 00:43:10,300 --> 00:43:12,100 But really, I'm obsessed by this. 683 00:43:12,300 --> 00:43:14,700 We got obsessed with the actor too much. 684 00:43:14,900 --> 00:43:17,200 The actor, of course, is the thing we see. 685 00:43:17,200 --> 00:43:21,600 But the actor, you know, the best thing an actor can do, is 686 00:43:21,600 --> 00:43:23,900 be receptive to what's in the air. 687 00:43:23,900 --> 00:43:27,200 And what's they're making and what's given to them and what 688 00:43:27,200 --> 00:43:31,200 they make from what's given to them and all these conversations 689 00:43:31,200 --> 00:43:35,600 about external things, or process or director, all 690 00:43:35,600 --> 00:43:41,500 indicate that as I get older, I want to disappear more and more, 691 00:43:41,600 --> 00:43:47,300 and more into the role, not in the typical method way, but one 692 00:43:47,300 --> 00:43:50,900 of the things that I great, a great thing that I learned from 693 00:43:51,400 --> 00:43:54,400 being with the Wooster Group, which was a real gift is the 694 00:43:54,700 --> 00:43:58,500 Nations were as important as the actors and sometimes the actors 695 00:43:58,500 --> 00:44:02,600 served like technicians and sometimes the technicians served 696 00:44:02,600 --> 00:44:07,300 as actors. So there was a kind of equality. 697 00:44:07,600 --> 00:44:11,600 That was not only did it. Take off a certain kind of 698 00:44:11,600 --> 00:44:15,600 pressure, but it recognized that made you feel more flexible. 699 00:44:16,600 --> 00:44:21,000 You were always clear about when you had to drive and when you 700 00:44:21,000 --> 00:44:24,500 had to react and that's that's very important. 701 00:44:24,700 --> 00:44:29,900 Thing to know and what your what your function is in the overall 702 00:44:29,900 --> 00:44:32,800 thing. Sometimes there are great actors 703 00:44:33,500 --> 00:44:37,900 and they stand out and you love to watch them do their thing but 704 00:44:37,900 --> 00:44:39,800 they don't integrate into the movie. 705 00:44:40,900 --> 00:44:45,500 I won't name any names but you know sometimes that happens and 706 00:44:45,700 --> 00:44:49,500 okay, that's fun. But on some level I think that's 707 00:44:50,300 --> 00:44:54,900 that becomes very limiting for me the mmm bishan and What I 708 00:44:54,908 --> 00:44:58,800 like to see and actors, what, you know, is this kind of 709 00:44:59,500 --> 00:45:06,800 integration this kind of lack of neediness or need need to take, 710 00:45:07,200 --> 00:45:10,100 you know, the stage sometimes. Okay. 711 00:45:10,300 --> 00:45:16,300 You gotta, as I say drive, but I like these things where it's 712 00:45:16,300 --> 00:45:18,700 kind of like, you can't help yourself. 713 00:45:18,700 --> 00:45:22,100 There's a logic, there's a kind of objectivity, there's a kind 714 00:45:22,100 --> 00:45:27,000 of clarity to You're the product of many things. 715 00:45:27,400 --> 00:45:32,400 Exactly, exactly. Oh, hey, can I ask you? 716 00:45:33,200 --> 00:45:36,700 I have one curiosity. You have children? 717 00:45:37,500 --> 00:45:41,100 Yeah, I have 11. It is. 718 00:45:41,100 --> 00:45:44,000 He attractive. Grandchildren, I have two 719 00:45:44,000 --> 00:45:47,000 grandchildren to. Is there any one of the 720 00:45:47,000 --> 00:45:50,700 grandchildren or your child want to be actors? 721 00:45:50,800 --> 00:45:57,400 Want to are in the business? No, my my Um, he's 40 years. 722 00:45:57,400 --> 00:46:03,500 Old is a lawyer that clerks for justice has four judges. 723 00:46:04,200 --> 00:46:08,000 That's his job, and he used to work for an environmental law 724 00:46:08,000 --> 00:46:14,800 firm. Lock concern down south but he, 725 00:46:15,200 --> 00:46:22,000 I think he is mother was a director and met his father, an 726 00:46:22,000 --> 00:46:24,700 actor and I think somewhere, deep, Lee. 727 00:46:24,700 --> 00:46:27,400 He didn't want to compete. He didn't want to have that life 728 00:46:27,400 --> 00:46:30,700 and he also grew up in the theater and also performed with 729 00:46:30,700 --> 00:46:32,900 us. And he was perhaps the most 730 00:46:32,900 --> 00:46:37,700 beautiful dancer I ever saw when he was a child and he would 731 00:46:37,700 --> 00:46:42,300 perform with us when he was a child and he was fantastic and 732 00:46:42,300 --> 00:46:45,700 so much so that other people wanted to use him, not a 733 00:46:45,700 --> 00:46:49,200 conventional dancer, but people downtown making films and that 734 00:46:49,200 --> 00:46:55,200 sort sort of thing. Joe Andres for example, the Wife 735 00:46:55,200 --> 00:46:59,400 of Steve Buscemi used him in her films. 736 00:47:01,100 --> 00:47:06,500 But then when he hit adolescence identity time came and I think 737 00:47:06,500 --> 00:47:13,700 he did want to compete or following the singer be in the 738 00:47:13,707 --> 00:47:16,500 same world and he was always agenda. 739 00:47:16,500 --> 00:47:18,800 Mean I'm the daughter of somebody famous and I became an 740 00:47:18,800 --> 00:47:24,400 actress in my 30s. Yeah, I mean modeling, you know 741 00:47:24,600 --> 00:47:26,900 Worked as a model and I loved it because I had nothing. 742 00:47:26,900 --> 00:47:30,400 I mean, I thought he had been that had nothing to do with 743 00:47:30,400 --> 00:47:33,600 acting. Then little they know once I 744 00:47:33,600 --> 00:47:37,900 start act know, once I was deep into modeling, I said, well, you 745 00:47:37,908 --> 00:47:41,800 know, it is similar bit about acting Samuel, I don't have 746 00:47:41,800 --> 00:47:44,500 words, but you have to save. You are emoting your you know, 747 00:47:44,500 --> 00:47:47,700 you can't just stop there in front of the camera, you have to 748 00:47:47,700 --> 00:47:51,600 do something and and so that's what gave me the courage but I 749 00:47:51,607 --> 00:47:54,500 think it was because I was a known model. 750 00:47:54,600 --> 00:47:59,500 Had the courage to try acting. I was asked like your son. 751 00:47:59,700 --> 00:48:02,800 I was asked to act and I was turned it down and then it was 752 00:48:02,800 --> 00:48:05,600 around 30. And the first film I made in 753 00:48:05,600 --> 00:48:10,500 America was but with Misha but he's Nico with whom I've stayed 754 00:48:10,500 --> 00:48:15,500 very good friends and I totally are yes I adore me. 755 00:48:15,600 --> 00:48:19,400 I think he's so and I adore that he continued to dance I don't 756 00:48:19,400 --> 00:48:24,200 know how old he is. 70 75, he continues to dance through him. 757 00:48:24,600 --> 00:48:26,800 His movement is the expression of the body. 758 00:48:26,800 --> 00:48:29,400 It isn't jumping hydras. Yes, he did that when he was 759 00:48:29,400 --> 00:48:35,000 young, but he's such an inspiration to me and I agree. 760 00:48:35,000 --> 00:48:38,000 Then the second film I did was blue velvet with David Lynch. 761 00:48:38,000 --> 00:48:41,400 So I was lucky to start with such wonderful people that 762 00:48:41,400 --> 00:48:44,900 encouraged me to continue. I gotta go back to what you said 763 00:48:44,900 --> 00:48:49,200 about modeling. I haven't like model model, but 764 00:48:49,200 --> 00:48:53,100 you know, I've done photo shoots and I did a campaign for Prada 765 00:48:53,100 --> 00:48:57,200 and I even did the Catwalk one side for Prada. 766 00:48:58,000 --> 00:49:00,400 You know what I like it. It's fun. 767 00:49:00,400 --> 00:49:02,500 It is performing. It is fun. 768 00:49:02,500 --> 00:49:05,700 It is performing. And also when you do the catwalk 769 00:49:05,700 --> 00:49:08,300 to me, the most interesting part of catwalk is that you 770 00:49:08,300 --> 00:49:12,400 understand the designers point of view, and the designers can 771 00:49:12,400 --> 00:49:15,300 be like a director. They have, if there are strong 772 00:49:15,300 --> 00:49:18,400 designer, like Prada, they do have a point of view. 773 00:49:18,600 --> 00:49:22,300 And sometimes when you go in a shop, the shop is already edited 774 00:49:22,300 --> 00:49:25,800 what they think will sell. So you don't see that was his 775 00:49:25,800 --> 00:49:27,600 collection. But once you see the complete 776 00:49:27,600 --> 00:49:30,700 collection, you really understand the process and the 777 00:49:30,700 --> 00:49:33,900 creativity. And it is very interesting and 778 00:49:33,900 --> 00:49:37,700 also I like the relationship with the photographer because 779 00:49:37,700 --> 00:49:41,000 you're maybe, you know, their work, maybe they're famous, 780 00:49:41,000 --> 00:49:45,100 maybe it's a wild card, you're taking a risk but it's a very 781 00:49:45,100 --> 00:49:47,600 immediate kind of call and response. 782 00:49:48,000 --> 00:49:52,500 They have a rough idea of what they want to do and then they 783 00:49:52,500 --> 00:49:54,500 lay it on you and then you either. 784 00:49:54,600 --> 00:49:57,700 Of fill it or you take it someplace else, you know, it 785 00:49:57,700 --> 00:49:59,800 isn't July. Sometimes, it feels to me that 786 00:49:59,800 --> 00:50:03,500 it is the same relationship that we have as actors, you know, we 787 00:50:03,500 --> 00:50:07,400 say acting is reacting and a lot of it is listening and reacting, 788 00:50:07,700 --> 00:50:10,400 and sometimes you can have a partner that really works and 789 00:50:10,400 --> 00:50:13,400 you play off very well. And sometimes it works less 790 00:50:13,400 --> 00:50:16,900 well, and he's just saying to me the same relationship between 791 00:50:17,000 --> 00:50:19,600 two actors is the relationship that I have with the 792 00:50:19,600 --> 00:50:22,400 photographer. I often find myself reacting to 793 00:50:22,400 --> 00:50:24,400 the photographer, looking at him in the land. 794 00:50:24,500 --> 00:50:28,800 It's and reacting to what? T, sends me back if he's smiling 795 00:50:28,800 --> 00:50:31,400 as my back. If he's worried, I'm worried 796 00:50:31,700 --> 00:50:35,000 about attracting fleas and that's how I, you know, I shape 797 00:50:35,000 --> 00:50:38,400 my expression and then wait for him to click whenever he wants. 798 00:50:38,700 --> 00:50:44,200 But I feel like it's a very instant thing and I like it when 799 00:50:44,200 --> 00:50:47,500 it works, well, it's a lot of fun when it works. 800 00:50:47,500 --> 00:50:49,300 Well, is a lot of fun and I agree. 801 00:50:49,300 --> 00:50:52,700 It's brief. The I always had a, probably a 802 00:50:52,700 --> 00:50:57,300 dedicated myself more to An acting also because I had two 803 00:50:57,300 --> 00:51:00,600 children and modeling. I always knew that even the big 804 00:51:00,600 --> 00:51:05,100 job was finished in 34 days, a film might ask you to go away 805 00:51:05,100 --> 00:51:08,400 for three or four months and that was much harder when you 806 00:51:08,400 --> 00:51:11,500 have a battery. So, I always favored modeling 807 00:51:11,500 --> 00:51:14,800 until I got too old and then camera. 808 00:51:18,100 --> 00:51:22,500 Now you're still modeling it, still occasionally but not not 809 00:51:22,500 --> 00:51:27,500 as when I was young. Well, let me see talking about, 810 00:51:27,500 --> 00:51:31,500 I have to go because I have a word with the Dolce Gabbana 811 00:51:31,500 --> 00:51:36,900 next, talking about. Okay, tastic designers so but it 812 00:51:36,900 --> 00:51:42,200 was so great to see you. And yeah, this we are so happy 813 00:51:42,600 --> 00:51:46,900 to have you in Italy and yeah, speaking. 814 00:51:46,900 --> 00:51:51,300 Italian and integrating in Italy and a huge hug to Able your 815 00:51:51,300 --> 00:51:55,600 neighbor Abel Ferrara, I will, I will Okay, great. 816 00:51:55,800 --> 00:51:58,600 Take care. Thanks for listening. 817 00:51:59,200 --> 00:52:03,500 The 824 podcast is produced by us a 24 special. 818 00:52:03,500 --> 00:52:06,700 Thanks to our editor Tom Wyatt and robot repair who compose our 819 00:52:06,700 --> 00:52:07,100 theme.