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By Ray Pride Pride@moviecitynews.com

Dante Ferretti On Working With Pasolini (2’36”)

From Criterion’s “Trilogy of Life” boxset. “Legendary production designer Dante Ferretti is known to moviegoers everywhere for the elaborate and period-precise but fanciful worlds he has created for such films as Terry Gilliam’sThe Adventures of Baron MunchausenNeil Jordan’s Interview with the Vampire, and Martin Scorsese’s Hugo (for which he won an Oscar this year). Among his first projects as art director were the films in Pier Paolo Pasolini’s “Trilogy of Life,” which also tread the line between the gritty and the fantastic. In this clip from a new Criterion interview with him—who had already served as an assistant production designer on Pasolini’s The Gospel According to St. Matthew, The Hawks and the Sparrows, and Oedipus RexFerretti describes envisioning The Decameron with Pasolini, divulges the director’s penchant for sliding down banisters, and explains the importance of making mistakes.”

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“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray

 

“Hollywood executives can rattle off the rules for getting a movie approved by Chinese censors: no sex (too unseemly); no ghosts (too spiritual). Among 10 prohibited plot elements are “disrupts the social order” and “jeopardizes social morality.” Time travel is frowned upon because of its premise that individuals can change history. U.S. filmmakers sometimes anticipate Chinese censors and alter movies before their release. The Oscar-winning alien-invasion drama “Arrival” was edited to make a Chinese general appear less antagonistic before the film’s debut in China this year. For “Passengers,” the space adventure starring Chris Pratt and Jennifer Lawrence, a scene showing Mr. Pratt’s bare backside was removed, and a scene of Mr. Pratt chatting in Mandarin with a robot bartender was added.”
~ “Hollywood’s New Script”