1. Having reached the end
of my poor sinner's life...Copy !req
2. my hair now white...Copy !req
3. Hi, I'm Jean-Jacques Annaud.Copy !req
4. I'm the director of the movie.Copy !req
5. This movie fascinated me
during the three or four years...Copy !req
6. spent making it.Copy !req
7. I'd been lucky enough
to read the book...Copy !req
8. Umberto's novel, prior
to its publishing in French...Copy !req
9. in the very first translation...Copy !req
10. and I had been fascinated by the book.Copy !req
11. And I had the feeling
that it had been written for me...Copy !req
12. because there were
a certain amount of themes...Copy !req
13. crossing into some fascinations,
sometimes precocious, that I had.Copy !req
14. I spent my childhood...Copy !req
15. taking pictures of monasteries,
since the age of 10.Copy !req
16. I have a huge collection.Copy !req
17. I was fascinated by ancient Greece,
notably Aristotle, so there were themes...Copy !req
18. that seemed to be
written specifically for me.Copy !req
19. By that time, I already
was thinking about a movie...Copy !req
20. that I was preparing, The Bear...Copy !req
21. but I stopped it all...Copy !req
22. in order to devote my
body and soul to this venture.Copy !req
23. Those pictures there, since
I'm currently speaking 15 years later...Copy !req
24. were shot six months after
the shooting, with doubles.Copy !req
25. Here, on the other hand, is a linking shot
with Christian and Sean Connery.Copy !req
26. I shot this in Abruzzo...Copy !req
27. a chain of mountains...Copy !req
28. splitting Italy, located
in the middle of the boot.Copy !req
29. And there, the monastery you see
on top of the mountain...Copy !req
30. is an addition that was made
at that time...Copy !req
31. in a very prehistoric way,
since we built this cabin...Copy !req
32. with a mirror on which we painted...Copy !req
33. this little piece of monastery.
I was in a shed...Copy !req
34. on top of this mountain.Copy !req
35. And I had selected two doubles...Copy !req
36. six months later.Copy !req
37. On the other hand, here
we are on our set. I say this...Copy !req
38. because I've often been asked
where I found...Copy !req
39. this fantastic abbey. I did not
find it. It was in the book...Copy !req
40. and we built it. Dante Ferretti was
the production designer, and everything...Copy !req
41. you see at this moment, it's a film set.
A gigantic film set.Copy !req
42. It was the first time
I could afford such a set...Copy !req
43. and it was the biggest set
in Italy since...Copy !req
44. Since Cleopatra, which tells
how sizable the set was.Copy !req
45. This image there was rather decisive...Copy !req
46. because when I read the novel,
I thought that when the door opened...Copy !req
47. you'd see this very
special donjon at once...Copy !req
48. this octagonal donjon.Copy !req
49. Umberto Eco was inspired...Copy !req
50. by the Torre del Monte,
located in the south of Italy.Copy !req
51. The item you see there, for example...Copy !req
52. was also made. This pot...Copy !req
53. was made by potters, on a wheel...Copy !req
54. according to models from this era.Copy !req
55. I was indeed delighted in redoing...Copy !req
56. all of this because, after having seen
lots of monasteries, more than 300...Copy !req
57. I never found the right layout
to tell this story.Copy !req
58. Here, you see the great Sean Connery...Copy !req
59. and Christian Slater...Copy !req
60. in this... Going through this set...Copy !req
61. this entirely built set.Copy !req
62. It's kind of a mix of plaster,
polystyrene, stucco...Copy !req
63. and behind that, there is
a whole tubular structure.Copy !req
64. This small set, here...Copy !req
65. was built, itself...Copy !req
66. on the main set,
what we call a cover set.Copy !req
67. And now, we have Mr. Prechtel
answering Michael Lonsdale.Copy !req
68. This whole group of fantastic
actors that I had found...Copy !req
69. after a casting process
that lasted for a year and a half...Copy !req
70. across all of Europe...Copy !req
71. He is a great actor, from Munich.Copy !req
72. I stress the fact that there is no...Copy !req
73. Aside from one specific actor
we'll see later...Copy !req
74. I didn't make up these people as
I had done before for Quest for Fire.Copy !req
75. These actors kept their own faces.
I simply insisted, occasionally...Copy !req
76. on changing their features.Copy !req
77. Here you see an amazing man...Copy !req
78. who is Mr. Chaliapin...Copy !req
79. who was, in fact, an extra.Copy !req
80. But I hired him instead of John Huston,
who had agreed to play this part...Copy !req
81. and that I didn't hire, because I feared
that having such a famous actor...Copy !req
82. such a famous personality...Copy !req
83. would indicate at once
that he was to have...Copy !req
84. a very specific part
in the movie history...Copy !req
85. so I preferred an unknown face.
And it's rather unusual...Copy !req
86. to find an unknown face
with an actor over 80 years old.Copy !req
87. In fact, Mr. Chaliapin
was a very wealthy man...Copy !req
88. who had lived a very happy life...Copy !req
89. insofar as he was the son
of the famous singer, Chaliapin.Copy !req
90. Here you can see
the lovely Christian Slater...Copy !req
91. that I met during
a casting session in New York...Copy !req
92. who impressed me a lot
with his naturalness.Copy !req
93. Since then, he has had quite a career.Copy !req
94. As for Sean Connery, I must say...Copy !req
95. I had thought, like a complete idiot...Copy !req
96. that I was going to find someone...Copy !req
97. with the same charisma as him,
but I wanted an unknown person.Copy !req
98. So I went through every theater
in the whole world to find...Copy !req
99. a charismatic actor
around 50 years of age...Copy !req
100. who is not famous.
And of course, he did not exist.Copy !req
101. You are not unknown, at 50,
if you are a great talent.Copy !req
102. But I was like everybody.
By that time, I had...Copy !req
103. an image of Sean Connery being 007,
being James Bond...Copy !req
104. and I could hardly imagine...Copy !req
105. that he could become
William of Baskerville.Copy !req
106. His agent kept calling me, asking
for us to meet, which I refused.Copy !req
107. Till one day, Sean came
to my office in Munich...Copy !req
108. opened the script and said, "Listen,
boy," with his fantastic voice...Copy !req
109. and he read the first pages.
And I must say...Copy !req
110. that I was so impressed
by his reading...Copy !req
111. that I rushed to see my producer
to tell him, "It's okay.Copy !req
112. We have our actor."Copy !req
113. Unfortunately, when I said that to
Umberto Eco, the author of the novel...Copy !req
114. he also almost fainted.Copy !req
115. His wife almost choked.
We were in a restaurant in Milan...Copy !req
116. and the company we were with,
which shall remain nameless...Copy !req
117. the American company who was to put up
money for the film, decided to withdraw...Copy !req
118. when they found out we were
going to hire Sean Connery.Copy !req
119. But I must say that when Umberto Eco
saw the movie for the first time...Copy !req
120. he told me, "What you did best,
and what I feared most, it's that...Copy !req
121. Sean Connery is fantastic."Copy !req
122. I must say it was great luck
for me to be able to work with Sean...Copy !req
123. who is a great actor. You often hear that
after a movie, everyone is speaking about...Copy !req
124. how great it was to work together.Copy !req
125. Now, I am speaking 15 years later...Copy !req
126. after having seen Sean,
often by chance...Copy !req
127. and we have a great affection
for one another...Copy !req
128. that comes from true harmony
during the shooting...Copy !req
129. from a great joy, for a director,
for me, to be able to direct...Copy !req
130. what I called, for a while, a Rolls.
Nowadays, maybe...Copy !req
131. one would speak of another car,
but Sean was definitely...Copy !req
132. one of these fabulous monsters
to whom you can ask anything of...Copy !req
133. and who does everything right
on the first take.Copy !req
134. Same for Michael Lonsdale.
Great, big professional.Copy !req
135. He has a dynamism that
totally fit my concerns, there.Copy !req
136. What was interesting
was to make a movie...Copy !req
137. that was going to show...Copy !req
138. the cultural variety...Copy !req
139. that could be found in an abbey
at that time, the universities of today...Copy !req
140. in which every nationality mingled.Copy !req
141. I really loved
playing with all the accents...Copy !req
142. of these monks coming from
various regions of the medieval world.Copy !req
143. —Adelmo's death has caused
much spiritual unease among my flock.Copy !req
144. This is my novice, Adso...Copy !req
145. the youngest son
of the Baron of Melk.Copy !req
146. The shooting, here for example...Copy !req
147. which is not obvious
when you hear what you are hearing...Copy !req
148. is dubbed, even in the English version.Copy !req
149. Because this set I had built,
it was somewhere near Rome...Copy !req
150. and it could have any quality,
it was close for everybody...Copy !req
151. but it was between a railroad
and a highway...Copy !req
152. and right in the takeoff axis
of Fiumicino's airplanes.Copy !req
153. So the sound was
a pure disaster, indeed.Copy !req
154. And moreover, this set being built...Copy !req
155. with plywood, the footsteps...Copy !req
156. didn't fit in at all.
So all of these scenes...Copy !req
157. have been dubbed. Ninety-five percent
of the movie, even in the original version...Copy !req
158. has been dubbed.Copy !req
159. —your monks suspect the presence of
a supernatural force within these walls.Copy !req
160. That's why I need the counsel...Copy !req
161. of an acute man such as you,
Brother William.Copy !req
162. Acute in uncovering...Copy !req
163. and prudent, if necessary...Copy !req
164. in covering up...Copy !req
165. before the papal delegates arrive.Copy !req
166. Surely you know, my lord,
I no longer deal in such matters.Copy !req
167. I am indeed reluctant to burden you
with my dilemma...Copy !req
168. but unless I can put
the minds of my flock at rest...Copy !req
169. One thing that fascinated me
with this movie...Copy !req
170. was that there were several levels
to approach it from.Copy !req
171. One very obvious level, as we have here,
a cinematographic show.Copy !req
172. But what I really liked
was that I had to deal...Copy !req
173. with historical issues,
with concerns coming from...Copy !req
174. the confrontation
of various religious factions.Copy !req
175. It's most interesting for a director...Copy !req
176. to have various levels of action.Copy !req
177. Adso!Copy !req
178. There, I'll show you an image
that had me worried.Copy !req
179. This interior of a church...Copy !req
180. has been shot, oddly, on a real set...Copy !req
181. an abbey named Eberbach,
located in the Rhine Valley...Copy !req
182. in Germany, in which we did other
scenes. Which means that our exteriors...Copy !req
183. are built sets, while some interiors...Copy !req
184. the images we see here...Copy !req
185. are shot in a real place,
in a Cistercian abbey.Copy !req
186. But we had to bring all the furniture,
including our stalls...Copy !req
187. and this virgin under which
Ubertino de Casale bows low...Copy !req
188. who is played by an extraordinary
and legendary actor, Bill Hickey.Copy !req
189. He is bowing low in front of a virgin...Copy !req
190. that has been described
by Umberto Eco...Copy !req
191. as being extremely attractive.
She had, I can remember it...Copy !req
192. from Umberto Eco's description...Copy !req
193. her chest and bosom squeezed
in a small piece of cloth...Copy !req
194. a kind of bra, indeed, that made her
extremely erotic for people at that time.Copy !req
195. And I had to build this statue,
because at that time...Copy !req
196. in 1327, we are at a time...Copy !req
197. when the finishing Gothic art...Copy !req
198. doesn't show women's bodies yet.Copy !req
199. So I had to make a statue,
and I was given...Copy !req
200. a model to approve.Copy !req
201. But when the statue
arrived on my set, it was clearly...Copy !req
202. a Renaissance statue,
so I turned it down.Copy !req
203. And then, my chief designer,
my producer, became mad...Copy !req
204. and said, "Are you nuts? We had...Copy !req
205. this huge set built, we had the stalls
made of oak tree, wrought iron.Copy !req
206. What's the problem with this
so-called Renaissance statue?"Copy !req
207. So I explained that the figures
were not adequate...Copy !req
208. that it was a much later style,
but I finally agreed to shoot with it.Copy !req
209. And at the very first screening of the movie,
which took place in Marseilles...Copy !req
210. the first question I was asked
after the screening was...Copy !req
211. how could I have not noticed
that this statue...Copy !req
212. was an incredible mistake,
dramatically damaging...Copy !req
213. the film's credibility.Copy !req
214. —something feminine...Copy !req
215. something diabolical...Copy !req
216. about the young one who died.Copy !req
217. Let's come to this man, to Bill Hickey.Copy !req
218. He had a very famous acting school...Copy !req
219. in New York, and he trained
generations of actors.Copy !req
220. And I very much enjoyed
working with...Copy !req
221. this movie legend.Copy !req
222. He had a very beautiful part
in Prizzi's Honor...Copy !req
223. the movie by John Huston.Copy !req
224. I'm afraid, William...Copy !req
225. for you, for me...Copy !req
226. for the outcome of this debate.Copy !req
227. My son.Copy !req
228. The times we live in.Copy !req
229. What I loved in this movie,
was to play with all these faces...Copy !req
230. so different, these talents
coming from...Copy !req
231. totally opposite universes.Copy !req
232. Get back Sean Connery...Copy !req
233. after the whole James Bond saga,
and lead him to be...Copy !req
234. a 14th-century monk. Here is
the virgin I was speaking of.Copy !req
235. Having the difficulty, also...Copy !req
236. of working with a beginner
such as...Copy !req
237. As Christian Slater...Copy !req
238. or working with Bill Hickey,
who is indeed...Copy !req
239. a great comedy actor,
this is a big pleasure...Copy !req
240. for a director, obviously.Copy !req
241. Please note that all the tonsures
are real. Not a single toupee.Copy !req
242. Here we are back on my set.Copy !req
243. Please also note that the gray sky
in the background is artificial.Copy !req
244. I had huge smoke machines,
because I was shooting in Rome...Copy !req
245. where the weather is usually great
with a burning sun...Copy !req
246. and I broke this southern weather...Copy !req
247. by sending up huge
amounts of smoke.Copy !req
248. I had three Land Rovers fitted with
big military devices, used to blur...Copy !req
249. the place, in order to
not be seen by planes.Copy !req
250. So I used all this equipment.Copy !req
251. Incredible luck, here.Copy !req
252. What you have here is an image
shot on our Rome set...Copy !req
253. with artificial snow.Copy !req
254. My concern was that, within 15 days,
I had spent my whole snow budget.Copy !req
255. And I was lucky enough to get
real snow, in Rome most unusual...Copy !req
256. during my shooting.
I'll show you when.Copy !req
257. God sent me what I needed
to complete my movie.Copy !req
258. Here again, we are on our set.Copy !req
259. And we are about to reveal
the beautiful Valentina Vargas...Copy !req
260. who, I must say,
had been opposed to several...Copy !req
261. fantastic other actresses,
but she...Copy !req
262. got along with everybody
because of her wild charm.Copy !req
263. Adso?Copy !req
264. No devil needed anymore.Copy !req
265. Here she is.Copy !req
266. Yes. More blood here.Copy !req
267. That's where he fell from.
He jumped.Copy !req
268. - Adso, are you paying attention?
- Yes.Copy !req
269. Again, this entire film has been...Copy !req
270. made, and every detail of our costumes...Copy !req
271. Here, for example, I see this.
We had Moroccan weavers...Copy !req
272. to do everything, some very
particular weavings in goat hair...Copy !req
273. as well as the sandals, for example,
also made of goat hair.Copy !req
274. Every detail, when I see such an image,
everything has been...Copy !req
275. made up for the movie. Every detail,
including the trees, has been put in.Copy !req
276. We go back there, nowadays
there is nothing left, just...Copy !req
277. this piece of cliff, and that's it.Copy !req
278. —is a place abandoned by God?Copy !req
279. Have you ever known a place
where God would have felt at home?Copy !req
280. We praise almighty God...Copy !req
281. Here, we are on the Eberbach set.Copy !req
282. Again, it's a place that I've fit out,
that was...Copy !req
283. in a former church, and I've built...Copy !req
284. this refectory in it.Copy !req
285. I had made very important
historical investigations...Copy !req
286. in order to know, for example,
what was the flatware like...Copy !req
287. what the plates looked like...Copy !req
288. how the monks were sitting,
what were the light sources.Copy !req
289. Everything that's on the table
has been made for the movie...Copy !req
290. always after models from the time,
and under a medievalist's guidance...Copy !req
291. whose name is Jacques Le Goff.Copy !req
292. The pulpit, on the right, has been built—Copy !req
293. I still have it in my garage.Copy !req
294. Has been built for the movie.
The tables have been built...Copy !req
295. for the movie. The basins, in which...Copy !req
296. you can see the glowing embers...Copy !req
297. were made for the movie as well.Copy !req
298. Here, we begin to make out...Copy !req
299. these faces that I call marvelous.Copy !req
300. I have looked closely...Copy !req
301. at paintings and engravings of that time...Copy !req
302. what is called the marginalia,
that is the monks' drawings...Copy !req
303. in the manuscripts, in the margin.Copy !req
304. Again, an image shot on the spot,
with some big lights...Copy !req
305. set on the top of the tower.
This astrolabe...Copy !req
306. we made it from an ancient model.Copy !req
307. It is very beautiful.Copy !req
308. It is in solid copper.Copy !req
309. This was a small set used as a cover set,
in which we could go and shoot...Copy !req
310. when the weather was too bad.Copy !req
311. Every scene shot in the cell...Copy !req
312. between William and Adso...Copy !req
313. were last-minute scenes, unprepared...Copy !req
314. when I could not shoot on the big set
due to the bad weather.Copy !req
315. It had the advantage
of being built on the spot.Copy !req
316. Each one of these manuscripts...Copy !req
317. has been handmade...Copy !req
318. in various abbeys
specializing in the restoration...Copy !req
319. of ancient books.Copy !req
320. Back to this Mr. Chaliapin.Copy !req
321. I had asked him to remove
his dentures...Copy !req
322. and I asked him to wear
contact lenses.Copy !req
323. White, and so he couldn't see anything.Copy !req
324. He was totally dedicated
and marvelous for the movie.Copy !req
325. Again, we are on a set...Copy !req
326. in which the monks are working,
what is called a scriptorium.Copy !req
327. And it was also shot in
a former refectory, in this cloister...Copy !req
328. in Eberbach, in Germany.Copy !req
329. A detail, here. You see Sean Connery
with this oil lamp.Copy !req
330. Actually, behind this oil lamp,
there is a small flashlight...Copy !req
331. equipped with a dimmer...Copy !req
332. but it has to be supplied. And so
Sean was wearing a battery belt...Copy !req
333. that allowed, with a wire,
to feed these lamps.Copy !req
334. It's always a big issue for everybody...Copy !req
335. to increase the flame on camera...Copy !req
336. in a way that the little hidden lamp...Copy !req
337. was able to provide enough light
for his face and his partner's face.Copy !req
338. Here is the set in Abruzzo.Copy !req
339. Here, I shot in the real church...Copy !req
340. in this cloister, but everything
you see behind, the stalls' woodwork...Copy !req
341. was entirely made by us,
in old oak.Copy !req
342. All this, the candle too...Copy !req
343. has been made for the movie.Copy !req
344. It took almost one year in production
to shoot the movie.Copy !req
345. The fog here is real.
Sometimes one gets lucky.Copy !req
346. Here, you see... It's an expensive set,
because the wood...Copy !req
347. is something very heavy, and
it took a lot of time to make all this.Copy !req
348. It's a character, playing the part
of this monk...Copy !req
349. who is an actor, who was an actor,
who was mythical, in Austria.Copy !req
350. His name is Qualtinger,
I'll come back to him later.Copy !req
351. He was a man who was strongly...Copy !req
352. He was deeply anti-Nazi...Copy !req
353. and had great fame.Copy !req
354. With this scene comes...Copy !req
355. the spectacular part of the movie.Copy !req
356. The part that is, in a way...Copy !req
357. like a detective film, I should say.
The moments when the movie...Copy !req
358. tackles the enigma.Copy !req
359. And I must say it was fun for me...Copy !req
360. to have to go from some scenes...Copy !req
361. in which we tackled...Copy !req
362. religious issues,
to some scenes like this one...Copy !req
363. rather gruesome, this one...Copy !req
364. which is the first scene
dealing with the murders...Copy !req
365. the effects of which we see on-screen.Copy !req
366. What was fun, was to have...Copy !req
367. a series of clues
that we were to find again later.Copy !req
368. It was the first time I was shooting
a movie of this kind, and I looked...Copy !req
369. at many famous thrillers.
I looked in particular...Copy !req
370. at all of Hitchcock's movies...Copy !req
371. and read all of his interviews...Copy !req
372. in order to properly give structure...Copy !req
373. to the detective framework of the movie,
which I used to compare to a mille-feuille...Copy !req
374. because the overall taste
cannot be judged...Copy !req
375. from the layer of pastry,
or the layer of cream...Copy !req
376. or the sugar above. You have
to eat the cake vertically...Copy !req
377. slicing it in a way that allows
you to taste every flavor altogether.Copy !req
378. And that was one of my fascinations
for this movie.Copy !req
379. Of course, I've scrupulously kept...Copy !req
380. the book's structure for these events.Copy !req
381. On the other hand, it is obvious...Copy !req
382. that I had to make some choices
in a 550-page book...Copy !req
383. requiring 16 hours of nonstop reading. The
movie is two hours 10, one must choose.Copy !req
384. —will fall in fountains of water.Copy !req
385. Do not squander!
The last seven days!Copy !req
386. Of course, there are elements...Copy !req
387. that are not in the book
and that you have in the movie.Copy !req
388. Visual elements the writer
cannot describe.Copy !req
389. Every detail you can see here,
in this image.Copy !req
390. But on the other hand, you see
the sphere on the right that we will...Copy !req
391. find again later, that has a part to play...Copy !req
392. in the various murders that will come.Copy !req
393. All the retorts, these things, have been
made according to ancient models...Copy !req
394. because you cannot find such objects
in the museums, or if you find them...Copy !req
395. they are so rare and expensive that
you cannot bring them to a shooting.Copy !req
396. —in which you apply arsenic,
Brother Severinus?Copy !req
397. Yes, indeed. It is a most effective
remedy for nervous disorders...Copy !req
398. if taken as a compound
in small doses.Copy !req
399. And what of not-so-small doses?Copy !req
400. Death.Copy !req
401. Here, it's a small set
that had been built...Copy !req
402. on the big one,
one of our cover sets...Copy !req
403. which was built...Copy !req
404. directly on the main production set.Copy !req
405. This man is a Russian actor
whose name is Elya Baskin.Copy !req
406. He is now working in the States,
and it was his first part in English.Copy !req
407. —or against nature.Copy !req
408. And they were not
of the latter disposition...Copy !req
409. if you ascertain my meaning.Copy !req
410. Here again, artificial fog...Copy !req
411. and there, the big gate.
Umberto Eco was inspired...Copy !req
412. by the Moissac gate...Copy !req
413. which was totally rebuilt...Copy !req
414. on the main set,
as well as the gate interior.Copy !req
415. And all of these bas-reliefs,
these friezes...Copy !req
416. All of these are castings,
or are originals.Copy !req
417. The moving statues are in latex.Copy !req
418. Here, I have my favorite actor...Copy !req
419. who is Ron Perlman...Copy !req
420. who I like very much, who gets me
laughing, who fascinates me.Copy !req
421. And I discovered him
for Quest for Fire.Copy !req
422. He was one of the two protagonists
in Quest for Fire.Copy !req
423. There, he has some kind
of a fake nose...Copy !req
424. he has dentures in his mouth.Copy !req
425. And on the other hand, the specific
tonsure he has on his head, scabies-like...Copy !req
426. had been done for good, and it meant
that my poor friend had to live...Copy !req
427. with a bonnet for six months.Copy !req
428. Ugly con Salvatore, eh?Copy !req
429. My little brother, penitenziagite.Copy !req
430. He is a great actor...Copy !req
431. who has had a fantastic career.Copy !req
432. But, because of me, he made a career...Copy !req
433. as a beast, a monster
in various movies.Copy !req
434. He was in Jeunet's Alien...Copy !req
435. he was in The City of Lost Children...Copy !req
436. he was... He was in a very big...Copy !req
437. TV series, Beauty and the Beast,
in which he was not playing Beauty.Copy !req
438. He is an incredibly adaptable actor...Copy !req
439. and I had the great pleasure to meet
with him again for Enemy at the Gates.Copy !req
440. It's called Stalingrad in France,
and he had...Copy !req
441. an amazing performance once again.Copy !req
442. Here we are in one of those scenes
in which we tackle...Copy !req
443. the historical side,
the religious history...Copy !req
444. with this dive into...Copy !req
445. the heresies of the time.Copy !req
446. Which is rather difficult in a movie...Copy !req
447. meant for a movie audience,
an audience composed of...Copy !req
448. every social and cultural circle,
to try and slip in...Copy !req
449. those kind of things...Copy !req
450. without tiring, without annoying...Copy !req
451. while giving the necessary keys
to fully understand...Copy !req
452. the whole complexity of the story.Copy !req
453. An extraordinary thing with Sean Connery,
he is fantastic in the first three takes...Copy !req
454. and he will not accept, in fact,
technical mistakes...Copy !req
455. because he is losing a lot of...Copy !req
456. Let's say losing his innocence
in the following takes.Copy !req
457. It's a great joy for me, for I'm not someone
who likes to make multiple takes.Copy !req
458. I like it when it's good the first few times.Copy !req
459. What we would do with Sean, we rehearsed
a lot, sometimes 20, 30 times...Copy !req
460. and we would do very few takes.Copy !req
461. But, yes, you're right.
We must keep an open mind.Copy !req
462. We are very fortunate to have
such snowy ground here.Copy !req
463. It's the parchment on which the criminal
unwittingly writes his autograph.Copy !req
464. Now, what do you read
from these footprints here?Copy !req
465. That they are...Copy !req
466. - ... twice as deep as the others.
- Good, Adso.Copy !req
467. And thus we may conclude...?Copy !req
468. - Well, that the man was very heavy.
- Precisely.Copy !req
469. And why was he very heavy?Copy !req
470. Because...Copy !req
471. - ... he was very fat?
- Or because he was being burdened...Copy !req
472. with the weight of another man.Copy !req
473. Let us commit the autograph
of this sole...Copy !req
474. to our memory.Copy !req
475. But the footprints
lead away from the jar...Copy !req
476. in this direction.Copy !req
477. Oh, you turnip, Adso.
You're discounting the possibility...Copy !req
478. that the man was walking backwards,
dragging the body thus...Copy !req
479. Hence, the furrows
created by the heels.Copy !req
480. Now, where did the erudite
Greek translator...Copy !req
481. meet the anonymous author
of his death?Copy !req
482. Here, this scriptorium set...Copy !req
483. we came in, in fact, through...Copy !req
484. the exterior door built on my set in Rome,
and we are now...Copy !req
485. in Germany, in Eberbach,
in a Cistercian cloister.Copy !req
486. The room in which I built the scriptorium
was the former refectory...Copy !req
487. and all the furniture you see
was built for the movie...Copy !req
488. the lecterns, the tables, the props...Copy !req
489. the brushes, all were made for the movie.
As well as the books...Copy !req
490. which were stored in a safe each day...Copy !req
491. since each one of the books
cost the production a real fortune.Copy !req
492. They had been bound by...Copy !req
493. some of the few book binders who know
how to bind in the traditional way...Copy !req
494. that was used in the Middle Ages.
In fact we hired some professionals...Copy !req
495. who worked on ancient
manuscript restoration.Copy !req
496. Everything was done on parchment,
on sheep's skin...Copy !req
497. or on sheep's stomach skin,
and even, sometimes...Copy !req
498. on lamb fetus skin.Copy !req
499. Here is what is called
"occhi di vetro con capsula"...Copy !req
500. that is "glass eyes in capsule."Copy !req
501. And the manuscript you see here
was a big issue to me.Copy !req
502. The images you see, there, were shot...Copy !req
503. a few days before
the release of the movie...Copy !req
504. because the manuscript, despite all
protective measures, had been stolen...Copy !req
505. between the first and second
day of shooting.Copy !req
506. I trust my words did not offend you,
Brother William...Copy !req
507. but I heard persons laughing
at laughable things.Copy !req
508. You Franciscans, however,
belong to an order where merriment...Copy !req
509. - ... is viewed with indulgence.
- Yes, it's true.Copy !req
510. St. Francis was much disposed
to laughter.Copy !req
511. These scenes were very interesting
to shoot, for me, because it mixed...Copy !req
512. first, a lot of actors
with fascinating faces...Copy !req
513. and with a rich talent...Copy !req
514. but what I liked most was the mix...Copy !req
515. of the detective framework...Copy !req
516. with the historical framework and, l
could say, the philosophical framework.Copy !req
517. There is nothing in the scriptures
to say that he did.Copy !req
518. Nothing in the scriptures
says that he did not.Copy !req
519. Even the saints have
employed comedy...Copy !req
520. to ridicule the enemies of the faith.Copy !req
521. I must say that, at the time,
I was personally fascinated...Copy !req
522. with what may seem to be
protractive wrangling...Copy !req
523. but that was very serious in
the Middle Ages, that divided the Church...Copy !req
524. but split the world today, between
Protestants, Catholics, Orthodoxes...Copy !req
525. Maronites. And then, at that time...Copy !req
526. some heresies jeopardized
the world's cohesion.Copy !req
527. And yet, Aristotle devoted
his second book of Poetics...Copy !req
528. to comedy as an instrument of truth.Copy !req
529. Many people thought that the faces
were inspired by Bosch...Copy !req
530. but no. Bosch painted...Copy !req
531. imaginary characters,
characters from hell.Copy !req
532. I looked mostly at Dutch painters,
I looked at Brueghel.Copy !req
533. When you look in detail, you can see
that the mugs of that time...Copy !req
534. that you can still find
in some rural places...Copy !req
535. we are not very used to
seeing these kind of faces...Copy !req
536. because there is a kind
of televisual tradition...Copy !req
537. to hire people
with a standard physique...Copy !req
538. magazine formatted, I should say.Copy !req
539. I have been lucky enough
to work with truly great actors...Copy !req
540. with faces I'd like to describe
as sincere.Copy !req
541. For example, Michael Habek,
who you can see here...Copy !req
542. a fantastic actor from Bavaria...Copy !req
543. I changed very few things with him.Copy !req
544. I shaved him. I shaved his skull
and I shaved his eyebrows...Copy !req
545. and I made him up with a very pale,
very white, Pierrot face.Copy !req
546. The reasons that led me to choose
such extreme faces...Copy !req
547. First is my taste for these faces.Copy !req
548. The second is a concern about...Copy !req
549. the historical truth.
Because, at that time...Copy !req
550. cosmetic surgery did not exist,
there were no dentists.Copy !req
551. And people's faces grew older...Copy !req
552. as should be the case.Copy !req
553. And the third reason was that
I had characters in uniform...Copy !req
554. in monk uniforms...Copy !req
555. and in order to acknowledge
who was doing what in the movie...Copy !req
556. we needed to have
highly recognizable faces.Copy !req
557. - Do you know where the books are?
- No.Copy !req
558. But I'll wager my faith that that tower...Copy !req
559. When you see these days,
which I mentioned earlier...Copy !req
560. where the sky is desperately blue,
I had to use the smoke machines.Copy !req
561. Here, change of style.
After discussions on laughter...Copy !req
562. well, a chase scene, which...Copy !req
563. as it is done in music, you
alternate slow and fast movements...Copy !req
564. it gives dynamics to the storytelling.Copy !req
565. Here again, I did my best
to follow closely...Copy !req
566. Umberto Eco's structure.Copy !req
567. I must say that I had
a fabulous relationship with Umberto Eco...Copy !req
568. who still is, to this day,
one of my best friends...Copy !req
569. and probably one of the men
that I admire most in the whole world.Copy !req
570. A man of incredible culture,
but also incredibly funny.Copy !req
571. He had an incredible attitude with me.Copy !req
572. He told me, "That's my book,
and that's your film.Copy !req
573. The one thing I ask...
My book has been successful...Copy !req
574. make a successful movie." I told him,
"That's something I cannot promise.Copy !req
575. I can promise to spend...Copy !req
576. all the time needed,
to work with all my heart...Copy !req
577. but I cannot... There is no recipe
for being successful.Copy !req
578. Unfortunately, I cannot guarantee
the one thing you are asking for."Copy !req
579. I assumed he could not resist
the temptation...Copy !req
580. to penetrate the library
and look at the books.Copy !req
581. All this was shot at night,
on my big set.Copy !req
582. Tonino Delli Colli was in charge
of the cinematography...Copy !req
583. and he is a true genius at this.
He is always ready before everyone else.Copy !req
584. He works incredibly fast.
He started his career...Copy !req
585. at the time of classic Italian cinema.
He was a cinematographer...Copy !req
586. for Pasolini, Scola, Fellini...Copy !req
587. and more recently, for Benigni.Copy !req
588. He is a most incredible man...Copy !req
589. and I owe him for all these images.Copy !req
590. We were inspired by a lot
of famous paintings.Copy !req
591. A lot of Rembrandt, of course...Copy !req
592. but also a lot of Dutch painters,
whose lighting I'm very fond of.Copy !req
593. All these scenes that look very simple.Copy !req
594. What was very tough,
I mentioned it previously...Copy !req
595. is the interplay of our lanterns.Copy !req
596. How... Christian, there,
holding this lantern...Copy !req
597. it's very complicated, he must
light his face without revealing...Copy !req
598. the small lamp lighting up
his partner, Sean Connery.Copy !req
599. It's fun, my job is funny
for this reason, in that we have...Copy !req
600. several things to handle.Copy !req
601. We have, of course, the narrative...Copy !req
602. structure of the movie, and we also
have all these details...Copy !req
603. which waste our time when shooting,
and if you don't handle it correctly...Copy !req
604. the story itself will suffer from this.Copy !req
605. I want to say that for this ink...Copy !req
606. we used a very ancient process...Copy !req
607. but we quite simply used some lemon.Copy !req
608. Of course, we had to do that 20 times,
which Sean was not very happy with...Copy !req
609. and he became nervous,
because the lemon didn't always...Copy !req
610. have the right density.
It's rather complicated.Copy !req
611. Ah, yes.Copy !req
612. Written with lemon juice.Copy !req
613. Sagittarius.Copy !req
614. The smallest detail, for example
this hammer, was made for the movie.Copy !req
615. It was forged according to
ancient models.Copy !req
616. It's some zodiacal code
giving directions, but to where?Copy !req
617. Hey! Who's there?Copy !req
618. Who's there?Copy !req
619. I loved looking at all these books.
I loved them so much.Copy !req
620. I wanted to have the privilege...Copy !req
621. of touching those wonders,
in a way to own them.Copy !req
622. That's what's great
when you are directing a movie...Copy !req
623. you have this fantastic pleasure...Copy !req
624. to create what you want.
And all I see, there, at this very moment...Copy !req
625. these are images I dreamt of...Copy !req
626. a few years before shooting them,
to make them...Copy !req
627. such as I had seen them.Copy !req
628. Very often, people say, "Why build?"
That's because I cannot find...Copy !req
629. in the real world the dream...Copy !req
630. I had when reading the book...Copy !req
631. or more simply, when dreaming.Copy !req
632. I love to make my own world.Copy !req
633. I found this set...Copy !req
634. in a real vault...Copy !req
635. in this monastery, in Eberbach.Copy !req
636. And I asked my producers
to arrange for this scene...Copy !req
637. to come late in the movie,
because such scenes...Copy !req
638. with sensuality,
are very difficult to tackle.Copy !req
639. And of course, with the other sets
not being ready...Copy !req
640. I had to shoot this scene
on the second day of shooting.Copy !req
641. You can imagine that when the crew
and actors don't know each other well...Copy !req
642. are not familiar with the crew,
the set, and even the story...Copy !req
643. having to deal with a scene...Copy !req
644. in which you have to manage
the actors' confidence...Copy !req
645. you always feel very bad.Copy !req
646. I shot the coming scene as I always shoot
these scenes, shooting only one take...Copy !req
647. but with three cameras,
with a very small crew.Copy !req
648. I'll find you.Copy !req
649. In this movie, I had to alternate
wide shots with closer shots...Copy !req
650. because you have a lot of details
that are important to the detective story...Copy !req
651. since I'm, in a way,
in a Sherlock Holmes story.Copy !req
652. All these clues have to be shown subtly.
Every close-up, every detail...Copy !req
653. has its meaning. And sometimes
it takes a lot of times. For example...Copy !req
654. this package, we had to gauge it. We
added this detail a few weeks later, in fact.Copy !req
655. Here, I come back to this scene.Copy !req
656. I had explained to Christian Slater
that it was...Copy !req
657. the girl's scene, that she would be
the one doing it according to what I'd say.Copy !req
658. —radiant as the sun...Copy !req
659. terrible as an army
poised for battle?Copy !req
660. This part of the scene
was shot in the morning...Copy !req
661. and the second part
was shot during the afternoon.Copy !req
662. Even if there is only one take...Copy !req
663. the time it takes to get
psychologically prepared...Copy !req
664. to set the cameras,
to have everyone get out, keeping only...Copy !req
665. the crew needed, the cameraman,
the sound man, the script and I...Copy !req
666. it takes a lot of time.Copy !req
667. And what is scary for such a scene
is that it doesn't work...Copy !req
668. the first time, it never works.Copy !req
669. Here, we have the afternoon scenes.Copy !req
670. The camera has completely changed,
I was on the other side.Copy !req
671. I wanted to have...Copy !req
672. the woman's hips in the foreground...Copy !req
673. and in the afternoon, for the end,
I wanted to shoot this axis.Copy !req
674. Close to the faces,
close to some tenderness.Copy !req
675. Here, again, I'm on the built set...Copy !req
676. with the artificial snow.Copy !req
677. This is where you catch them?Copy !req
678. These heresies, particularly
the Dulcinian heresy, had been...Copy !req
679. a true drama for the Church...Copy !req
680. that jeopardized...Copy !req
681. the cohesion of Christianity.Copy !req
682. Today, this drama seems very distant...Copy !req
683. but we still are, as I said before,
their natural heirs.Copy !req
684. As you're a good Christian,
you must tell me this.Copy !req
685. So Adelmo gave the parchment
to Berengar.Copy !req
686. No, no.Copy !req
687. To the translo...
The transla—Copy !req
688. Translator!
Venantius, the black monk.Copy !req
689. - And what happened then?
- Then...Copy !req
690. When I'm asked which are the most
difficult scenes in such movies...Copy !req
691. I always answer the love scenes...Copy !req
692. which are incredibly tough to tackle.Copy !req
693. It has a tonal unity that I thought...Copy !req
694. very important, as you can see.Copy !req
695. I worked a lot on beiges,
on browns, on blacks...Copy !req
696. contrasting with scenes later on,
in which you have the brightness...Copy !req
697. of papal clothing.Copy !req
698. At that time, there was
a whole symbolism of colors...Copy !req
699. meaning that poor people
could not access...Copy !req
700. expensive pigments and dyes...Copy !req
701. so they were always wearing
brown clothing...Copy !req
702. or dark blue clothing,
or faded black clothing.Copy !req
703. Only rich people could afford
either the white, that has to be washed...Copy !req
704. or the vivid colors
needing very expensive pigments.Copy !req
705. That's why Franciscans...Copy !req
706. were in brown, which was in fact...Copy !req
707. the base color, without any use
of pigments.Copy !req
708. - He must have been a very ugly monk.
- Why ugly?Copy !req
709. If he'd been young and beautiful...Copy !req
710. So, every sound...Copy !req
711. was rerecorded afterwards.Copy !req
712. When you redo the voices in post,
you have to redo everything.Copy !req
713. In fact, the one scene
that was not dubbed...Copy !req
714. in the whole movie,
is the one we see here.Copy !req
715. That means nothing regarding the French
version in which everything was dubbed...Copy !req
716. but in the English language,
it's the one...Copy !req
717. that remained, because
it was shot during the night...Copy !req
718. and so there were not too many
people on the highway, or planes.Copy !req
719. It's another scene, here,
that I did exactly...Copy !req
720. as I did the love scene.
It's a confidence scene.Copy !req
721. And I shot it in one take,
with a camera position...Copy !req
722. that's very static, as you see...Copy !req
723. and another camera
working on the close-ups.Copy !req
724. And I love these scenes
in which the actors have time...Copy !req
725. to grasp the tone of the scene.Copy !req
726. I remember one thing.
At the end, I had been so amazed...Copy !req
727. by the simplicity of Sean's acting...Copy !req
728. that I had a lump in my throat
and couldn't say "cut"...Copy !req
729. and I had to physically go in front
of the camera and make the sign to cut.Copy !req
730. —in love?Copy !req
731. In love? Yeah. Many times.Copy !req
732. - You were?
- Yes, of course.Copy !req
733. Of course, I didn't have big success
with this in the States.Copy !req
734. I have to say that I received
horrible reviews with this movie.Copy !req
735. By horrible, I mean,
you have to experience this once...Copy !req
736. in your life in order to either survive,
or to do something else.Copy !req
737. And I really wasn't spared
by the critics.Copy !req
738. And I thought, reading these
horrible reviews...Copy !req
739. and when I saw the disastrous
results in America...Copy !req
740. that I should go back
to my former job...Copy !req
741. which was shooting commercials.Copy !req
742. The American media,
in absolute unanimity...Copy !req
743. had found the movie to be dirty...Copy !req
744. because the actors were not very clean—
They were wearing unwashed clothes.Copy !req
745. —and incomprehensible...Copy !req
746. and of course, such a scene
weighed into their judging.Copy !req
747. I had some very painful moments,
it took some time to recover.Copy !req
748. And the film had a long life.Copy !req
749. It's a film...Copy !req
750. that had huge success
in Europe and in Asia...Copy !req
751. but never really worked
in the States, except for...Copy !req
752. a few years when, thanks
to video and television...Copy !req
753. the movie became famous.Copy !req
754. Of course, I don't have
the benefit of your experience.Copy !req
755. But I find it difficult
to convince myself...Copy !req
756. that God would have introduced
such a foul being into creation...Copy !req
757. without endowing her
with some virtues.Copy !req
758. How peaceful life would be
without love, Adso.Copy !req
759. How safe.Copy !req
760. How tranquil.Copy !req
761. And how dull.Copy !req
762. So, this is shot in Abruzzo,
with doubles.Copy !req
763. How beautiful.
Lord, you have guided...Copy !req
764. It's weird, when speaking
of these horrible reviews...Copy !req
765. I always feel a pain, I think.Copy !req
766. I admit, I find it good...Copy !req
767. - Amen.
- Amen.Copy !req
768. Brother Berengar?Copy !req
769. I love reviews.Copy !req
770. I'm not blaming the media,
it's simply that when there is...Copy !req
771. such an unanimity,
as there was for this movie...Copy !req
772. I wondered whether
I should keep doing this job...Copy !req
773. so poorly.Copy !req
774. Brother Berengar.Copy !req
775. Master, look. The door.Copy !req
776. Brother Malachia.Copy !req
777. I really do love this actor,
Volker Prechtel.Copy !req
778. He is a very popular actor...Copy !req
779. who is working a lot for television...Copy !req
780. in Bavaria, and he has such
a weird face...Copy !req
781. such a remarkable thinness...Copy !req
782. but he holds his physique
with a true authority.Copy !req
783. And as I said before...Copy !req
784. it's important to recognize
at first glance...Copy !req
785. people all dressed in black.Copy !req
786. It is a strict rule of the abbot
that no one is permitted...Copy !req
787. to enter the abbey library
other than myself and my assistant.Copy !req
788. I see.Copy !req
789. Thank you again.Copy !req
790. I was very pleased when recording...Copy !req
791. the sacred music. I recorded
that at the end of the movie...Copy !req
792. with a Munich choir...Copy !req
793. and I had the pleasure of
conducting the choir by myself...Copy !req
794. and with the help of a choirmaster.
I had the extreme joy.Copy !req
795. I am a huge fan of classical music...Copy !req
796. and it was a very rare occasion
to have...Copy !req
797. several instrumentalists
under my conducting.Copy !req
798. Welcome to our abbey, Brother Michele...Copy !req
799. Here, we have Andrew Birkin,
he is Jane's brother...Copy !req
800. who was one of the four scriptwriters.Copy !req
801. - Unhand me!
- Salvatore, let him go.Copy !req
802. This is Cuthbert of Winchester, one of
our most esteemed Franciscan guests.Copy !req
803. Come, Your Grace. We have
a most urgent matter to discuss.Copy !req
804. At this level, since I see Andrew
Birkin, here, on the right...Copy !req
805. I'd made 17 versions
of this scenario.Copy !req
806. Nine with my friend Alain Godard,
who was the first to sort out...Copy !req
807. this very complex novel.Copy !req
808. And after one year of work
with me, he broke down one day...Copy !req
809. and he crossed himself,
like Ubertino de Casale...Copy !req
810. and he asked me,
"Will this ever end?"Copy !req
811. And indeed, it was
very complicated to write.Copy !req
812. After these nine versions, I asked
my friend Gérard Brach to get involved.Copy !req
813. He did three other versions,
and after that...Copy !req
814. I finished with Andrew Birkin...Copy !req
815. on the last versions. In the meantime...Copy !req
816. I worked with another scriptwriter,
whose name is Howard Franklin...Copy !req
817. who helped me with the 11th version.Copy !req
818. Did you find a book in Greek?Copy !req
819. No.Copy !req
820. I was right.Copy !req
821. So was the book of Revelation.Copy !req
822. - We must talk at once.
- lndeed, we must.Copy !req
823. And I have much to tell.Copy !req
824. Just as soon as he and I
have examined this corpse.Copy !req
825. Here we have Michael Habeck...Copy !req
826. who let himself put on some weight,
as everybody can see.Copy !req
827. None that I know of.Copy !req
828. Ink stains.Copy !req
829. Lots of dialogue comes straight
from Umberto's text.Copy !req
830. At that time, I remember...Copy !req
831. I knew the book's 550 pages by heart.Copy !req
832. And I still have, today,
a passion, a huge respect...Copy !req
833. for this movie—
For this movie! For this book.Copy !req
834. What I wanted to say, what's fun
for Umberto and l, very often...Copy !req
835. people come and see Umberto, saying,
"I really love your book!Copy !req
836. It's great!" And they quote a scene...Copy !req
837. or several scenes, that are not
in the book, only in the movie...Copy !req
838. to his total amusement because...Copy !req
839. he has enough humor
to laugh about that.Copy !req
840. —who possessed this parchment
before Venantius.Copy !req
841. And how do we know that?
Because those random notes...Copy !req
842. overrun Adelmo's blue smudge,
and not vice versa.Copy !req
843. Brother William, this abbey is
enshrouded in a terrifying mystery.Copy !req
844. This is shot on a set in Cinecittà.
This set of a crypt...Copy !req
845. has been built on a stage.Copy !req
846. It's one of the sets built
in these mythical studios...Copy !req
847. in Cinecittà, with the one, later,
of the library.Copy !req
848. —great pains to conceal
a secret of the first magnitude.Copy !req
849. Now, the calligraphy is,
without question, left-handed.Copy !req
850. And the only left-handed member
of your community...Copy !req
851. Here, this framework,
on the other hand...Copy !req
852. I'm totally in Umberto's text...Copy !req
853. very close to what he wrote
in the book.Copy !req
854. I have the feeling that
you're about to tell me.Copy !req
855. Books. Restricted books.Copy !req
856. Spiritually dangerous books.Copy !req
857. Everyone here knew of the assistant
librarian's passion for handsome boys.Copy !req
858. When the beautiful Adelmo wanted
to read such a forbidden book...Copy !req
859. Berengar offered Adelmo
the key to its whereabouts...Copy !req
860. Here, I'm using the traditional structure
of an enigma movie...Copy !req
861. in which you have a summary...Copy !req
862. of the drama, so that everybody is able...Copy !req
863. to understand the theory.
But I have to do it through images...Copy !req
864. Show images already seen in
the movie, or that have not been shown.Copy !req
865. There was a witness.Copy !req
866. The hunchback...Copy !req
867. who saw Adelmo giving
this parchment to Venantius.Copy !req
868. Then running towards the small tower
and hurling himself out of the window.Copy !req
869. Let me take advantage of this summary...Copy !req
870. to speak about the music,
composed by James Horner...Copy !req
871. with whom I fell out
during the recording...Copy !req
872. simply because we were
among the first people...Copy !req
873. to use a sampler.Copy !req
874. Today it's a most common technique.Copy !req
875. But what we wanted to do
was to record...Copy !req
876. in museums,
ancient medieval instruments...Copy !req
877. and to replay
these authentic instruments...Copy !req
878. on a computer keyboard.Copy !req
879. The problem being that, at that time,
the procedure was so primitive...Copy !req
880. that the slightest minute of music
required a considerable amount of time.Copy !req
881. So after having chosen
every detail of the sound...Copy !req
882. when I heard everything together,
I was very often unsatisfied.Copy !req
883. And I must say that James and I
fell out...Copy !req
884. for some years, in fact...Copy !req
885. while acknowledging that he composed
quite extraordinary music.Copy !req
886. I love very much, I must say,
this small bell that he put there.Copy !req
887. But I must add that since then,
we met again with great joy...Copy !req
888. and I did Enemy at the Gates
with him.Copy !req
889. And I really think...Copy !req
890. he is a remarkable man
and a great composer.Copy !req
891. Thank you, Brother William.Copy !req
892. We are mindful of your efforts...Copy !req
893. but I should now ask you...Copy !req
894. to refrain from
further investigations.Copy !req
895. Happily, there will be someone arriving
with the papal delegation...Copy !req
896. who is well-versed in the wiles
of the evil one.Copy !req
897. A man, I believe, you know
only too well.Copy !req
898. Bernardo Gui...Copy !req
899. Since we are speaking of Bernardo Gui...Copy !req
900. Bernardo Gui was a real
historical character...Copy !req
901. one of the most famous
inquisitors of his time...Copy !req
902. and you can still find
his written works...Copy !req
903. which inspired a lot of
the Nazis' torture techniques...Copy !req
904. and that remains one of
the most extraordinary texts...Copy !req
905. on how to make the most of
denouncement and the best method...Copy !req
906. to get confessions,
even if they are fake.Copy !req
907. And I showed him in the movie...Copy !req
908. in a very dark light.Copy !req
909. Actually, he was considered,
in comparison with other inquisitors...Copy !req
910. to be someone who tried to end
the Inquisition's abuses.Copy !req
911. William is always right!Copy !req
912. No matter what the consequences,
to himself or anyone else...Copy !req
913. William of Baskerville
must always prove himself right.Copy !req
914. Was it not your vanity,
your stubborn intellectual pride...Copy !req
915. that brought you into conflict
with Bernardo before?Copy !req
916. Do not tempt fate twice, William.Copy !req
917. Even the emperor won't be able to save
you if you tangle with Bernardo again.Copy !req
918. That was in the environment
of our main set.Copy !req
919. As you see, it's a huge set to manage,
several hectares...Copy !req
920. and it was very difficult...Copy !req
921. when you wanted to have snow,
all this snow, this foam.Copy !req
922. It requires many hoses,
firefighter trucks.Copy !req
923. And moreover, the snow disappears
in a few minutes...Copy !req
924. in Rome's warm climate.Copy !req
925. These images have totally disgusted
our American audience.Copy !req
926. It's, of course, inspired by
the medieval era...Copy !req
927. which you can find, as I said...Copy !req
928. in Brueghel's paintings.Copy !req
929. —to lifting her people
out of their physical destitution...Copy !req
930. and spiritual deprivation.Copy !req
931. Here, I'm back with the images
shot in Germany.Copy !req
932. With these Gregorian chants...Copy !req
933. that were synchronized later...Copy !req
934. but I had taught all the extras...Copy !req
935. to sing in the same rhythm.Copy !req
936. We have Vernon Dobtcheff, there...Copy !req
937. beside William, beside Sean Connery.Copy !req
938. Farewell, William.Copy !req
939. You are mad and arrogant...Copy !req
940. but I love you and shall never cease
to pray for you.Copy !req
941. Goodbye, dear child.Copy !req
942. Try not to learn too many
bad examples from your master.Copy !req
943. He thinks too much.Copy !req
944. I remember having said to my designer,
Dante Ferretti:Copy !req
945. "I'd be extremely angry with you...Copy !req
946. if people think...Copy !req
947. that you have made a marvelous set.
What I want to hear...Copy !req
948. is that we found a fantastic abbey."Copy !req
949. And I must say that he did so well
that nobody thought it was a set...Copy !req
950. and so, he was never nominated...Copy !req
951. for the best set of the year.Copy !req
952. Everybody thought I found that...Copy !req
953. in the marvelous
European monasteries.Copy !req
954. I truly went and saw every...
Not every one, there are so many of them.Copy !req
955. But I went to see more than 300.Copy !req
956. And since I never found
a monastery with...Copy !req
957. all the qualities I wished for...Copy !req
958. I had to have it built.Copy !req
959. Here we are entering a built set,
on a Cinecittà stage...Copy !req
960. but we are going to enter
some catacombs...Copy !req
961. that are true catacombs found
under a restaurant near Rome.Copy !req
962. I wanted to shoot in other catacombs...Copy !req
963. which were the catacombs...Copy !req
964. The famous Rome catacombs.
Unfortunately, the Vatican...Copy !req
965. learned that it was for Name of the Rose,
and they thought it was so blasphemous...Copy !req
966. that I was strictly forbidden to shoot
on any of the Vatican's properties.Copy !req
967. - That one.
- My choice exactly.Copy !req
968. We came this close, Umberto and I,
to being excommunicated.Copy !req
969. It's incredible to see how...Copy !req
970. things can change in a few years.Copy !req
971. Nowadays, Umberto Eco is
a leading member of Italian culture...Copy !req
972. but when he published the book...Copy !req
973. there was a leap from the Vatican...Copy !req
974. which prevented me from shooting...Copy !req
975. in any place that was...Copy !req
976. a possession of this Italian church.Copy !req
977. Those are the foundations
of the tower.Copy !req
978. But how we reach the library—Copy !req
979. The rats love parchment
even more than scholars do.Copy !req
980. Let's follow him.Copy !req
981. 166. Bolted scriptorium door.
1 67, 1 68, 1 69, 1 70.Copy !req
982. 31 7, 31 8...Copy !req
983. Here we are on another set...Copy !req
984. that we built in the Cinecittà area.Copy !req
985. I say "area" because we are not
really on a stage.Copy !req
986. I made the studio around the set
because the set was so big.Copy !req
987. There was no studio in the world
that could welcome it, in height.Copy !req
988. I could have put it horizontally,
but this one was vertical, unfortunately.Copy !req
989. On the other hand...Copy !req
990. the various rooms of this maze...Copy !req
991. being all similar...
I only had three of them built.Copy !req
992. These small, hexagonal rooms
that we see.Copy !req
993. And it was a hell of a brainteaser, because
each time, we changed the books...Copy !req
994. and the layout inside.Copy !req
995. Here, for example,
we are on the same set...Copy !req
996. in the same room
as the previous room.Copy !req
997. But the lecterns are not the same,
the books...Copy !req
998. the lights are not the same.Copy !req
999. And so, you are lost,
which is the true idea...Copy !req
1000. but I must say it was
a real headache remembering...Copy !req
1001. on which axis we had shot. Here,
we have a wonderful piece of work...Copy !req
1002. of which we had redone around 30 pages,
all by hand, of course.Copy !req
1003. It's a book I promised to give Umberto.
His son was in charge of keeping it...Copy !req
1004. and he put it back into a safe each day.Copy !req
1005. And the last day of shooting
when we offered it to Umberto...Copy !req
1006. there were no illuminated pages left...Copy !req
1007. there was just 100 pages
of raw parchment.Copy !req
1008. To this day, I still don't know
who stole this manuscript.Copy !req
1009. All this, each of these scenes
has been shot...Copy !req
1010. in one of these three little cells.Copy !req
1011. A microscopic set,
it was hard to be all together...Copy !req
1012. because we were a big crew, indeed.Copy !req
1013. —and ideas that could
encourage us to doubt...Copy !req
1014. the infallibility
of the word of God.Copy !req
1015. Always the same issues
with the lanterns.Copy !req
1016. Once again, for it was such
a headache during the shooting.Copy !req
1017. See, there, the young Christian Slater
has to move...Copy !req
1018. the lantern direction, so as
not to see the lamp interior...Copy !req
1019. and must remember
to light up his face.Copy !req
1020. Master?Copy !req
1021. And here, we are on the main set,
that was built for good.Copy !req
1022. I was very angry when I read
that I had some models...Copy !req
1023. that it looked like models.Copy !req
1024. There are no models at all,
except the one at the very beginning.Copy !req
1025. This abbey on top on the mountains,
all of this was built at full scale...Copy !req
1026. in this huge place, and I think
they kept it for a while in Cinecittà.Copy !req
1027. I'm not walking, Adso.
I'm down here.Copy !req
1028. All of this woodwork was made...Copy !req
1029. out of ancient wood
that had been salvaged...Copy !req
1030. from some old farms,
in the Rome region.Copy !req
1031. A lot of work on the sound, of course.Copy !req
1032. It's a movie on which we worked a lot.Copy !req
1033. In a scene like that, stereophony—
I was about to say polyphony.Copy !req
1034. It's extremely important to know where
a sound comes from, and this confusion...Copy !req
1035. was very important for the story.Copy !req
1036. And that's why the movie
was released in 70 mm.Copy !req
1037. All that you see there was real material.Copy !req
1038. Today, we probably wouldn't do this,
but at that time, yes.Copy !req
1039. All of this was built in ancient wood...Copy !req
1040. with stone moldings,
a gigantic set...Copy !req
1041. that was done by Dante Ferretti.Copy !req
1042. I'll add a very funny thing, a detail.Copy !req
1043. When I read the book...Copy !req
1044. I realized that the set was not...Copy !req
1045. described as having several floors.Copy !req
1046. I went to see Umberto and asked,
"Tell me, Umberto.Copy !req
1047. How many rooms in your library?"Copy !req
1048. He answers, "About 100."Copy !req
1049. "And how many floors, for all that?"Copy !req
1050. "Oh!" He knocked his head. "It's true."
I said, "No.Copy !req
1051. What you described is a pizza.Copy !req
1052. It's not a tower at all.
It's flat, it's real big.Copy !req
1053. So, what do we do?"
We were in his home, in Milan.Copy !req
1054. He ran to his library
and came back with a picture of Escher...Copy !req
1055. These famous Escher staircases.
And another book on Piranesi's jails.Copy !req
1056. And, of course, that was our inspiration.Copy !req
1057. —lovesick person does
not want to be healed...Copy !req
1058. and his dreams cause irregular
breathing and quicken the pulse.Copy !req
1059. He identifies amorous melancholia
with lycanthropy...Copy !req
1060. a disease that induces
wolflike behavior in its victims.Copy !req
1061. The lover's outward appearance
begins to change.Copy !req
1062. Soon his eyesight fails,
his lips shrivel...Copy !req
1063. his face becomes covered
with pustules and scabs.Copy !req
1064. Marks resembling the bites of a dog
appear on his face...Copy !req
1065. and he ends his days
by prowling graveyards...Copy !req
1066. at night...Copy !req
1067. like a wolf."Copy !req
1068. Master, I can see a lantern.Copy !req
1069. Don't move.
Stay where you are.Copy !req
1070. It's always an issue, for us moviemakers...Copy !req
1071. when we think out a movie for a medium,
and the original version of this movie...Copy !req
1072. is meant to be seen in 70 mm,
on a big screen...Copy !req
1073. with six tracks of sound.Copy !req
1074. And if you reduce it a little, you no longer
have the true, original version.Copy !req
1075. Look! There!Copy !req
1076. You foolish boy.Copy !req
1077. It's only a mirror.Copy !req
1078. Master!Copy !req
1079. - The books, boy! Save the books!
- I'm trying to save you!Copy !req
1080. A trap door and a mirror.
We must be almost there.Copy !req
1081. The one special effect of the movie
is this little monastery on the mountain.Copy !req
1082. Today, you no longer
make a movie this way.Copy !req
1083. Today, often, 20 percent of the movie
is done in postproduction.Copy !req
1084. Here, everything was shot as seen.Copy !req
1085. —as to surrender our parchment
to the abbot without making a copy?Copy !req
1086. "Manus supra idolum, age primum
et septimus de quatuor" is what?Copy !req
1087. Christian has a marvelous innocence.Copy !req
1088. It's a great pleasure, for me...Copy !req
1089. to work with new actors.Copy !req
1090. Because, finally, there is more to do.Copy !req
1091. It's more risky, before the shooting
you are worried...Copy !req
1092. but what a joy to see an actor...Copy !req
1093. blooming in front of the camera.Copy !req
1094. I remember Tonino had a little bit
too much lit up this night.Copy !req
1095. It was a real night, with...Copy !req
1096. on top of the tower, floodlights,
like on a soccer field.Copy !req
1097. But frontal light didn't look
as beautiful as profile light.Copy !req
1098. And again.Copy !req
1099. Do you hear that?Copy !req
1100. - It's my teeth, master.
- What?Copy !req
1101. My teeth.Copy !req
1102. Don't be afraid.Copy !req
1103. I'm not afraid. I'm cold.Copy !req
1104. Well, we shall return.Copy !req
1105. Don't leave on my account.Copy !req
1106. No, no, no. I must confess,
it eludes me for the moment.Copy !req
1107. What is great, in Umberto Eco's book,
is that he is...Copy !req
1108. He is the sum, as they said
in the Middle Ages...Copy !req
1109. of a vast culture,
the result of 30 years of erudition.Copy !req
1110. And it was a pleasure
to try and grasp...Copy !req
1111. this erudition.Copy !req
1112. I did my best, surrounding myself...Copy !req
1113. with all the specialists that could
help with a myriad of details...Copy !req
1114. so that the image
could be faithful to the incredible...Copy !req
1115. amount of detail
that Umberto had in his text.Copy !req
1116. You see, there, for example,
this torture instrument...Copy !req
1117. We made them all according to
the models of that time.Copy !req
1118. I still have in my house...Copy !req
1119. some scary books...Copy !req
1120. on torture instruments
from the Middle Ages.Copy !req
1121. I read, at that time,
many witchcraft handbooks.Copy !req
1122. My wife was frightened, I must say.Copy !req
1123. I remember a weird detail...Copy !req
1124. is that I had...Copy !req
1125. to take a picture of the edge
of all these books I had taken...Copy !req
1126. in the library, because...Copy !req
1127. the fiscal auditor of the
production company had stated...Copy !req
1128. that we didn't need 350 books
to shoot a movie.Copy !req
1129. Actually, we had bought much more
than 350 books, and I kept 350 books...Copy !req
1130. that were necessary to find
the literature required for these scenes.Copy !req
1131. Here, for example,
this witchcraft scene we see here...Copy !req
1132. is written in one of the books. I think
that's Agrippa d'Aubigné, I'm not sure.Copy !req
1133. Lucifer, be at my service.Copy !req
1134. On the love relationship, I've of course...Copy !req
1135. altered the meaning from the novel...Copy !req
1136. yet I kept some scenes very similar.Copy !req
1137. But the young girl vanishes
from the novel around the middle...Copy !req
1138. and she is never spoken of afterwards.Copy !req
1139. I don't present
exactly the same relationship.Copy !req
1140. In all of my movies.
I save an important part...Copy !req
1141. for the womanly presence, and...Copy !req
1142. And precisely, my films
are there for me to show this.Copy !req
1143. And while in the novel
the girl is given up...Copy !req
1144. and there is no real issue of a choice...Copy !req
1145. here, of course, is the one
which would have been mine...Copy !req
1146. if I had been a monk.Copy !req
1147. Truth is that love.Copy !req
1148. The love passion...Copy !req
1149. the feeling, what drives our life...Copy !req
1150. For people like me, who have read...Copy !req
1151. who spent a lot of time with books,
who are a generation...Copy !req
1152. for knowledge, for learning.
All of these are things...Copy !req
1153. that I like in my personal life...Copy !req
1154. so I approve of them. But eventually...Copy !req
1155. the world of instinct, of feeling...Copy !req
1156. I know that's the overpowering one,
and that's what I want to say here.Copy !req
1157. So, here is the part
straying from the book, in a way...Copy !req
1158. but it totally tells what I believe in.Copy !req
1159. That is, when you adapt a book...Copy !req
1160. you bring out what moves you,
specifically.Copy !req
1161. Each person could shoot a totally different
movie after reading a book...Copy !req
1162. as rich, as complex
as The Name of the Rose.Copy !req
1163. Tomorrow...Copy !req
1164. we endeavor to learn
if these events are connected...Copy !req
1165. with the even graver mystery
that afflicts your abbey.Copy !req
1166. Lock them up that we may all
sleep safely tonight.Copy !req
1167. Here, you can see the costume textures.Copy !req
1168. I spoke early on about
the importance of details.Copy !req
1169. And when I see period movies
with textiles that are machine-made...Copy !req
1170. and sewed with thread
that are machine-made...Copy !req
1171. it certainly doesn't have
the right texture.Copy !req
1172. And so there is a kind of lie,
obvious to any of the spectators.Copy !req
1173. That's why I'm focused on details...Copy !req
1174. so that nothing gets in your way
and you can rely on the essential.Copy !req
1175. But that's not true,
and you know it.Copy !req
1176. I know.Copy !req
1177. I also know that anyone
who disputes the verdict...Copy !req
1178. I have a tactile pleasure...Copy !req
1179. to be with beautiful objects.Copy !req
1180. See, the detail, on the table.Copy !req
1181. They are still in my house because...Copy !req
1182. they were made with lot of love
and I didn't want to leave them.Copy !req
1183. And they are beautiful items, copied from
ancient models by talented potters.Copy !req
1184. I too was an inquisitor...Copy !req
1185. but in the early days, when
the Inquisition strove to guide...Copy !req
1186. And I must say that there is...Copy !req
1187. I take a lot of pleasure
in doing this job, because...Copy !req
1188. you work in many dimensions.Copy !req
1189. For example, here, the room structure.
I love rooms in which the set...Copy !req
1190. catches the lights, so I worked
on the geometry...Copy !req
1191. of the set, but also on the quality
of the shutter's wood, behind him...Copy !req
1192. and also the wall material,
so that the wall is not smooth...Copy !req
1193. it is handmade, as in the past,
it is a little biased.Copy !req
1194. Actually, it's very expensive
to build a set that is not vertical.Copy !req
1195. Because, today, the machines
cut everything at right angles.Copy !req
1196. So, in order to have this credibility,
it becomes very expensive.Copy !req
1197. —and I recanted.Copy !req
1198. What happened then?Copy !req
1199. The man was burned at the stake.Copy !req
1200. And I am still alive.Copy !req
1201. All of these weapons
were made for the movie.Copy !req
1202. Once again, because you cannot find...Copy !req
1203. the props you need in the props store.
It's done with...Copy !req
1204. tinplate, as they say,
for the movies.Copy !req
1205. Brother Salvatore...Copy !req
1206. It's one of the first scenes
I shot in the movie.Copy !req
1207. These torments will cause me
as much pain as you.Copy !req
1208. I knew that this poor man...Copy !req
1209. my friend Ron Perlman, couldn't be...Copy !req
1210. in the movie since I had to observe...Copy !req
1211. the quotas of a complex coproduction
that was between France...Copy !req
1212. ltaly and Germany.Copy !req
1213. Eventually, no ltalian
and 20 percent French.Copy !req
1214. And I had hired an ltalian actor,
but he wanted to wear a wig.Copy !req
1215. He totally refused to have
his hair cut, shaved...Copy !req
1216. and so I dismissed him
two days before starting shooting.Copy !req
1217. I called Ron Perlman,
who was very much in despair.Copy !req
1218. He had no job...Copy !req
1219. and that day, he was waiting
for a sign from the sky.Copy !req
1220. I asked him to pack...Copy !req
1221. and to take a plane to Rome.Copy !req
1222. He put everything in a backpack...Copy !req
1223. and came with his dirty underwear,
and shot this scene the next day.Copy !req
1224. I did not know.Copy !req
1225. With the dawn
came the envoys of the pope...Copy !req
1226. our adversaries in
the forthcoming debate.Copy !req
1227. But it meant so little to me now.Copy !req
1228. Your Eminence,
venerable brothers...Copy !req
1229. at last we meet
for this long-awaited debate.Copy !req
1230. We have all journeyed great distances
in order to put an end to the dispute...Copy !req
1231. that has so gravely impaired
the unity...Copy !req
1232. Here, the contrast between our Franciscans
and the pope's envoys...Copy !req
1233. Some people may recognize
the amazing Lucien Bodard...Copy !req
1234. in his pope envoy costume.
Here is Lucien, without any makeup...Copy !req
1235. with his incredible physique.Copy !req
1236. And I must say that Lucien...Copy !req
1237. is a very old friend of mine...Copy !req
1238. a fantastic reporter, a great writer...Copy !req
1239. who was kind enough to spend...Copy !req
1240. many weeks with me.
And unfortunately...Copy !req
1241. despite my instructions,
he was treated as an extra...Copy !req
1242. poorly housed...Copy !req
1243. waiting hours and hours before
coming to shoot his scene.Copy !req
1244. The question is not
whether Christ was poor...Copy !req
1245. but whether the church
should be poor.Copy !req
1246. I'm happy to hear his voice,
it's so specific.Copy !req
1247. It's his own voice. He is dubbing himself,
as well as Michael Lonsdale.Copy !req
1248. This small set was made
in the Eberbach cloister.Copy !req
1249. As you see, there is a whole variety
of places.Copy !req
1250. The chapter house,
in the previous scene...Copy !req
1251. is the true cloister chapter house.
They are not the best sets...Copy !req
1252. since all of these cloisters
have been rearranged.Copy !req
1253. Even a built set...Copy !req
1254. would not have looked
as mechanically restored as that.Copy !req
1255. —wage war on the infidel.Copy !req
1256. You forget that even
the greatest monument to our Lord...Copy !req
1257. is but a pale reflection
of his infinite majesty and glory...Copy !req
1258. far outstripping the church...Copy !req
1259. Then, coming back onto
an artificial, built set...Copy !req
1260. you see that the set built for the movie
is more realistic...Copy !req
1261. than the real set of that time...Copy !req
1262. today rearranged as a museum.Copy !req
1263. Another thing, this set
has the correct patina...Copy !req
1264. which you cannot do when
working in a true ancient abbey.Copy !req
1265. And so, this abbey looks modern, fake.Copy !req
1266. Here, it's a joy to see all of these props.Copy !req
1267. Again, all built for the movie.Copy !req
1268. Another important thing in order to have
the feeling that we are really in that time.Copy !req
1269. We worked a lot on the behavior.Copy !req
1270. I've worked so much...Copy !req
1271. A very beautiful astrolabe,
made, of course...Copy !req
1272. based on models of that time.Copy !req
1273. We worked so much on the behavior...Copy !req
1274. and I stressed to my actors...Copy !req
1275. that you should not, when you are
a monk, speak with your hands...Copy !req
1276. that you should try to have
an evasive look.Copy !req
1277. Today, still,
I happen to speak, in my daily life...Copy !req
1278. Speak with my hands in my sleeves.Copy !req
1279. For years before, I had
a kind of simian behavior...Copy !req
1280. from trying to ensure that
my actors, in Quest for Fire...Copy !req
1281. would not use their hands
as we do nowadays...Copy !req
1282. but as our ancestors did, maybe.Copy !req
1283. Thank you, brother.Copy !req
1284. Here we have...Copy !req
1285. These images with Helmut Qualtinger
really move me, because Helmut...Copy !req
1286. finished his life on our stage.Copy !req
1287. He was very ill, and I didn't know it.
He never told me.Copy !req
1288. We'll see him in one scene soon,
which is one of the last he ever played.Copy !req
1289. Here, in white, we have an actor
who was in my first movie...Copy !req
1290. whose name is Peter Berling,
who nowadays...Copy !req
1291. is a successful medieval novelist.Copy !req
1292. He had been Fassbinder's producer.Copy !req
1293. The Lord commanded his disciples
on no less than seven occasions:Copy !req
1294. - "Carry neither gold—"
- Venerable brothers!Copy !req
1295. Brethren, if you please!Copy !req
1296. A matter has occurred
of the utmost gravity.Copy !req
1297. Let me go! I swear—!Copy !req
1298. Helmut Qualtinger is an actor...Copy !req
1299. a mythical actor in Austria...Copy !req
1300. maybe seen as the best
Austrian actor, at that time.Copy !req
1301. He won fame by being a fierce
opponent to Nazism.Copy !req
1302. He had a very impressive show,
of amazing simplicity.Copy !req
1303. He came on stage...Copy !req
1304. with only
a book and a lectern as props.Copy !req
1305. And the book was an original edition
of Mein Kampf, Hitler's book.Copy !req
1306. And at random, he opened the book...Copy !req
1307. and read one page, a whole page...Copy !req
1308. in front of an audience,
totally dumbfounded to realize...Copy !req
1309. that a whole generation
of Germans had followed...Copy !req
1310. the man who wrote these pages.Copy !req
1311. Please, dear boy.
I am trying to think!Copy !req
1312. So am l, master. So am I!Copy !req
1313. Then try using your head
instead of your heart...Copy !req
1314. and we might make
some progress.Copy !req
1315. Here, we have the lights as I love them,
kind of like La Tour's lighting...Copy !req
1316. with a strong contrast.Copy !req
1317. People told me, "Don't do that, it doesn't
work for TV." As if my movie was for TV.Copy !req
1318. Anyway, I had to struggle with everyone
to shoot this rather tough image...Copy !req
1319. which, in fact, with modern monitors,
looks perfectly fine.Copy !req
1320. This scene, we shot it in one
of the rooms of Eberbach Abbey.Copy !req
1321. This abbey had the advantage of being...Copy !req
1322. in certain places, not overly restored.Copy !req
1323. It's a place where they make some wine...Copy !req
1324. wine from the Rhine Valley...Copy !req
1325. and so there is mold on the walls,
providing a nice patina.Copy !req
1326. Here, we have some texts
reused by Umberto Eco, coming...Copy !req
1327. Some of these texts come
from Bernardo Gui originals.Copy !req
1328. For people interested in
this system of questioning...Copy !req
1329. who want to see where
the Nazis' methods came from...Copy !req
1330. I recommend the original
Bernardo Gui's texts.Copy !req
1331. It's rather scary.Copy !req
1332. —Brother William of Baskerville.Copy !req
1333. The following scene was quite...Copy !req
1334. complex to shoot, because I had
the whole cast together...Copy !req
1335. and I had some availability issues
with all these people...Copy !req
1336. coming from various places,
working in theaters.Copy !req
1337. And Qualtinger, here, in the middle...Copy !req
1338. couldn't remember his English lines
very well.Copy !req
1339. At that time, I was a bit angry.
I didn't tell him.Copy !req
1340. I had great respect for him, I didn't know
he was ill, and I didn't understand...Copy !req
1341. why I had to stop shooting
because he didn't know his lines.Copy !req
1342. In this scene, of course,
you have the whole cast together.Copy !req
1343. For each of them, it was,
before finding them...Copy !req
1344. days and days of casting,
of traveling, because I had...Copy !req
1345. several casting centers
managed by several casting directors.Copy !req
1346. I had one in Germany...Copy !req
1347. and we often went to Berlin, Munich,
Frankfurt, Cologne.Copy !req
1348. See plays, see movies. There were not
as many videos as nowadays.Copy !req
1349. I had a casting director in London,
one in Paris...Copy !req
1350. another one in New York, one in
Los Angeles, and of course one in Italy.Copy !req
1351. I spent a lot of time going to
small theaters, to cabarets.Copy !req
1352. I don't deny it.Copy !req
1353. I'm proud of it!Copy !req
1354. For the 12 years I lived here...Copy !req
1355. I did nothing but stuff my belly...Copy !req
1356. shag my wick...Copy !req
1357. and squeeze the hungry peasants
for tithes.Copy !req
1358. Of course, such a film required
three years of preparation.Copy !req
1359. Moreover, in complex moments...
Because when you prepare...Copy !req
1360. there is not much money, producers
don't know if they will give you the money.Copy !req
1361. There was a lot of reluctance
to finance this text. I say "this text"...Copy !req
1362. because the book was successful,
but not many people had read it.Copy !req
1363. The detective story was rather complex.Copy !req
1364. The book was considered
impossible to adapt.Copy !req
1365. I, for myself, had just made a very
different movie, Quest for Fire...Copy !req
1366. and people said, "Annaud, he can
understand these barefoot runners...Copy !req
1367. but he doesn't know anything
about the Middle Ages."Copy !req
1368. I had a hard time explaining that
I was fascinated by the Middle Ages...Copy !req
1369. that I had spent eight years learning
Greek, and 10 years learning Latin...Copy !req
1370. that I could read ancient French.
All these things...Copy !req
1371. seemed extremely unlikely,
and we had a hard time getting...Copy !req
1372. financing for the movie, which at the time
was expensive, and on a subject...Copy !req
1373. that seemed— It's easy in retrospect to say
it was successful, the book was successful...Copy !req
1374. but when you are the one...Copy !req
1375. who is trying to make the movie,
it was incredibly complex...Copy !req
1376. finding the money necessary
to do the movie correctly.Copy !req
1377. Because, of course, you can do it
faster and less good...Copy !req
1378. but we could do better.
I wanted a certain level...Copy !req
1379. of quality on several levels.Copy !req
1380. What took the most time,
was to make this script...Copy !req
1381. to succeed in translating,
in two hours 10...Copy !req
1382. these 500 pages.Copy !req
1383. And to succeed in achieving
a mix between that which gave...Copy !req
1384. the book such depth
and also that which made it...Copy !req
1385. a popular pleasure to read...Copy !req
1386. which is the peculiarity of
a literary masterpiece, that is to mix...Copy !req
1387. serious content
with an entertaining form...Copy !req
1388. for people to enjoy reading.Copy !req
1389. —to confirm my sentence,
my lord abbot.Copy !req
1390. My heart is filled with sorrow...Copy !req
1391. but I can find no reason
to contest...Copy !req
1392. the just sentence
of the Holy Inquisition.Copy !req
1393. And you, William of Baskerville?Copy !req
1394. Yes.Copy !req
1395. He is guilty.Copy !req
1396. Guilty of having, in his youth...Copy !req
1397. misinterpreted the message
of the gospels.Copy !req
1398. And he is guilty of having confused...Copy !req
1399. The marvelous face of Lucien Bodard.Copy !req
1400. But, my lord abbot,
he is innocent of the crimes...Copy !req
1401. I want to say
that I spent a lot of time...Copy !req
1402. working on the foreign versions.Copy !req
1403. I oversaw, for example,
the dubbing into the French language...Copy !req
1404. and to the great surprise of my ltalian,
Spanish and German friends...Copy !req
1405. I also oversaw these three versions.Copy !req
1406. That means I am sent a voice casting...Copy !req
1407. I choose the voices according to tests
for each of the characters.Copy !req
1408. So of course, it requires
a lot of work, because...Copy !req
1409. there are many countries in the world.
It has been dubbed into Basque...Copy !req
1410. it has been dubbed into Chinese,
also Japanese.Copy !req
1411. I also oversaw the Japanese voices.Copy !req
1412. I couldn't check the acting quality,
of course.Copy !req
1413. But anyway, for European languages...Copy !req
1414. besides the original English version...Copy !req
1415. I travel and verify the dubbing,
and ask to redo what I don't like.Copy !req
1416. Which distributors don't like, they think
I'm a pain in the ass, which is true.Copy !req
1417. Adrammelech, Lucifer,
I summon you, lords of hell!Copy !req
1418. Alastor!Copy !req
1419. Azazel!Copy !req
1420. The shepherd has done his duty...Copy !req
1421. and the infected sheep must now
be consigned to the purifying flames.Copy !req
1422. What I like, there, seeing Sean...Copy !req
1423. is that when we shot these scenes,
we thought...Copy !req
1424. I remember articles saying
that I was totally mistaken...Copy !req
1425. when choosing an actor
who was an action-movie actor...Copy !req
1426. of spy movies,
who wouldn't have, of course...Copy !req
1427. the credibility required...Copy !req
1428. to play this character in
Umberto Eco's mythical novel.Copy !req
1429. - The debate is concluded.
- No.Copy !req
1430. It seems Brother William of Baskerville
has relapsed...Copy !req
1431. into the errors of which
he was formerly purged.Copy !req
1432. Having sought yet again
to shield a heretic...Copy !req
1433. from just punishment
by the lnquisition...Copy !req
1434. he will accompany me to Avignon
for confirmation of my sentence...Copy !req
1435. by His Holiness Pope John.Copy !req
1436. When I see these images, I notice that,
even though I had some soil brought in...Copy !req
1437. in order to cover the ground...Copy !req
1438. the ground is flatter...Copy !req
1439. than if I'd had it made on a built set.Copy !req
1440. I would not have accepted
such even ground.Copy !req
1441. At that time, the grounds
were made of beaten earth...Copy !req
1442. and here, it's obvious that we have
a concrete floor covered with earth.Copy !req
1443. On the other hand, when we are
on the built set...Copy !req
1444. we get a realism back
that we don't have on the natural sets.Copy !req
1445. The music we hear,
this symphonic music...Copy !req
1446. is done entirely with a keyboard.Copy !req
1447. It comes straight from the computer's
memory. It was one of the first times...Copy !req
1448. we had such synthetic music.Copy !req
1449. When the pyres are lighted tonight...Copy !req
1450. let the flames purify each of us
in his own heart.Copy !req
1451. It was quite a fantastic relationship
between Sean Connery...Copy !req
1452. and young Christian Slater.
When Christian arrived, he was 15.Copy !req
1453. He was stressed and he told me,
"You know...Copy !req
1454. I know all of Sean Connery's movies."Copy !req
1455. And he used this English expression,
"I'm struck!"Copy !req
1456. He was totally dumbfounded...Copy !req
1457. impressed, shaking.Copy !req
1458. And I asked Sean to play with that.Copy !req
1459. And Sean terrorized Christian,
not allowing any mistakes.Copy !req
1460. He would not accept any mistakes
in a line, or in positioning.Copy !req
1461. On the other hand, I told Christian...Copy !req
1462. he could use his youth, his dynamism.Copy !req
1463. And he tired out Sean
in the running scenes...Copy !req
1464. running much faster than him,
leaving poor Sean breathless...Copy !req
1465. who often had to carry those batteries,
as I mentioned earlier...Copy !req
1466. which I'll show in the interior scenes.Copy !req
1467. When he walks with a light source,
he has to wear...Copy !req
1468. these batteries around the waist,
weighing around 10 kilos.Copy !req
1469. - It's Brother Malachia.
- Malachia?Copy !req
1470. - Yes, Father, yes.
- Dear God.Copy !req
1471. Not Malachia!Copy !req
1472. Will it never end?Copy !req
1473. Malachia.Copy !req
1474. Bernardo, William of Baskerville
was right.Copy !req
1475. - He said that—
- Yes! He knew.Copy !req
1476. Just as I, too, would have known,
had I been the murderer.Copy !req
1477. Find William of Baskerville.Copy !req
1478. We still can't open the mirror!Copy !req
1479. Perhaps by pressing the
first and seventh letters...Copy !req
1480. In these running scenes I was
speaking of, after the 20th rehearsal...Copy !req
1481. Sean was very angry with Christian,
who ran too quickly...Copy !req
1482. but that was in collusion with me.Copy !req
1483. And I remember that, some time ago,
we were having dinner with Christian...Copy !req
1484. and we were laughing a lot
remembering...Copy !req
1485. this little trick against Sean.Copy !req
1486. This is a real sunset on my set.Copy !req
1487. And here, we have Abruzzo.Copy !req
1488. As I speak, and I'm speaking a lot
about the making of the movie...Copy !req
1489. I must bring up that before you deal with
managing all the issues that arise...Copy !req
1490. during the shooting, there is
this huge period, first of writing...Copy !req
1491. that can only come, in my opinion,
after a period of research.Copy !req
1492. Not only did I read the book,
I don't know, 50 times...Copy !req
1493. but after that, I had to travel to
a lot of monasteries...Copy !req
1494. to find inspiration. Then I read lots of
books on this period, its different aspects.Copy !req
1495. So I spent almost one year...Copy !req
1496. not shooting any movie...Copy !req
1497. being kind of a student.Copy !req
1498. Then after comes the writing period.Copy !req
1499. And as I said, I wrote 17 versions of it.Copy !req
1500. It's almost another year of work.Copy !req
1501. So before coming to any issues...Copy !req
1502. about actors' direction,
choosing the props...Copy !req
1503. building the sets,
you have the part...Copy !req
1504. that's maybe the most interesting,
tackling the meaning of the movie.Copy !req
1505. I must add also, that I did draw...Copy !req
1506. all of the images of the movie...Copy !req
1507. with my rather unskillful hand.Copy !req
1508. But I wanted to do it, because
since everything depended on...Copy !req
1509. what I had visualized,
or previsualized...Copy !req
1510. it was important to me
that each department should make...Copy !req
1511. the elements of the sets, the props...Copy !req
1512. according to the axis I needed.Copy !req
1513. Each one of these images, here,
I imagined them...Copy !req
1514. before shooting them. I spent
lots of time, that was in planes...Copy !req
1515. going from one casting place
to another.Copy !req
1516. Going from Eberbach in the Rhine Valley,
to Rome, to see my set.Copy !req
1517. In the waiting rooms, I scribbled my...Copy !req
1518. I drew my movie...Copy !req
1519. which was very useful in helping me
see lots of problems. "Oh, yes, this.Copy !req
1520. How is an oil lamp—?" For example, here.Copy !req
1521. This image, it's quite simple:Copy !req
1522. "What does an oil lamp look like?"Copy !req
1523. So I called my wife, who is my script
supervisor, and who was my liaison...Copy !req
1524. with all of the technical advisors,
and then she would call...Copy !req
1525. the technical advisor
who specialized in such objects...Copy !req
1526. to find out what an oil lamp
of that time looked like.Copy !req
1527. For example, a procession,
it's an easy thing to do.Copy !req
1528. But what was the order?
Did the monks...Copy !req
1529. wear a hood or not?Copy !req
1530. All these details may seem trifling...Copy !req
1531. but it's better to know what we are
going to do before shooting the movie.Copy !req
1532. Because it has an influence on
a wig issue, for example. When Sean...Copy !req
1533. doesn't wear his hood...Copy !req
1534. it meant he had to go to makeup
well in advance, because...Copy !req
1535. we had tonsured him...Copy !req
1536. but we also put some
hair powder on his head...Copy !req
1537. in order to show he was shaved,
and not bald.Copy !req
1538. It looks unimportant, but if the actor
is coming 90 minutes before shooting...Copy !req
1539. it's important to him
and he must know it the day before...Copy !req
1540. if the next day's scene
is scheduled as being...Copy !req
1541. hood on, or hood off.Copy !req
1542. —pupil to turn your poisoned pages.Copy !req
1543. Not without the protection of a glove,
such as I am wearing.Copy !req
1544. The door, quick!
Before he shuts us in!Copy !req
1545. Push!Copy !req
1546. Stay, stay!Copy !req
1547. Here, the staging, the choreography
of the execution scene...Copy !req
1548. I read a lot of documentation
on period pictures...Copy !req
1549. depicting these kind of scenes.Copy !req
1550. My historical advisors, led by Le Goff,
helped me, and I had Padre Arpa with me...Copy !req
1551. because, of course, I'm not
an expert on monastic life...Copy !req
1552. and I needed someone to help me
understand. They are covered...Copy !req
1553. with pitch, as they did at that time.Copy !req
1554. Do you, Salvatore, renounce the devil
and embrace Jesus Christ...Copy !req
1555. as your lord and savior?Copy !req
1556. These are difficult scenes to shoot...Copy !req
1557. because you must shoot at dusk in order
to have a sky that's not completely dark.Copy !req
1558. You see, there, the sky is still clear.Copy !req
1559. But you have but a short time,
because the light fades rapidly...Copy !req
1560. and generally... Here you see,
the sky is dark.Copy !req
1561. I see it, but I guess that...Copy !req
1562. with the action, you don't see it. Still, it's
better to have continuity in the background.Copy !req
1563. It's always a problem when you shoot
at that time of the day.Copy !req
1564. You generally have half an hour
to shoot five or six shots...Copy !req
1565. when you would in fact need
between five and six hours.Copy !req
1566. You always have panic moments.Copy !req
1567. Laughter kills fear.Copy !req
1568. And without fear,
there can be no faith.Copy !req
1569. Because without fear of the devil,
there is no more need of God.Copy !req
1570. But you will not eliminate laughter
by eliminating that book.Copy !req
1571. No, to be sure.Copy !req
1572. Laughter will remain
the common man's recreation.Copy !req
1573. But what will happen if,
because of this book...Copy !req
1574. learned men were to pronounce it
permissible to laugh at everything?Copy !req
1575. Can we laugh at God?Copy !req
1576. The world would relapse into chaos.Copy !req
1577. Therefore, I seal that...Copy !req
1578. With this marvelous actor,
who is the son...Copy !req
1579. He was 82 years old
when he shot with me.Copy !req
1580. He had... Eventually...Copy !req
1581. he had a wonderful end to his life,
because...Copy !req
1582. till he died, he was shooting
important parts.Copy !req
1583. He is great, my buddy Ron Perlman.Copy !req
1584. Here, we are in the fire scene exterior.Copy !req
1585. The big problem is, the day we shot that...
It's always like this, in movies.Copy !req
1586. The wind that always blew in the right
direction blew in the opposite direction...Copy !req
1587. and all of these shots,
with these gigantic flames...Copy !req
1588. burned the special effects people
who were behind.Copy !req
1589. It seems incredible,
but it's true.Copy !req
1590. You destroy the set, and nobody tells you
not to shoot, because no one dares to say it.Copy !req
1591. When I realized that the shot...Copy !req
1592. was right in front of me...Copy !req
1593. I ran to turn on one of the cameras...Copy !req
1594. which allowed me to have
enough material to edit the scene.Copy !req
1595. Please, God, save him.Copy !req
1596. Here, we have the real staircases
that collapse.Copy !req
1597. Hold them back.Copy !req
1598. Burn the witch!Copy !req
1599. You dare raise your hands
to the church?Copy !req
1600. Come!Copy !req
1601. Here, for such a scene, I had,
as I said, seven cameras.Copy !req
1602. Here, the flames you see above,
were actually much higher than that...Copy !req
1603. they were indeed gigantic, but the wind
blew, as I said, in the wrong direction.Copy !req
1604. Same here, the flames were designed
to be three times higher.Copy !req
1605. No! You're not going to leave!Copy !req
1606. All of this is your doing!Copy !req
1607. My master found the true murderer!Copy !req
1608. All of these fire scenes
were shot in one night...Copy !req
1609. because, here again, there were
a lot of extras...Copy !req
1610. and the fire scenes are very expensive,
because of the fuel and butane...Copy !req
1611. which are very expensive.
So I did everything...Copy !req
1612. with cameras set in various places...Copy !req
1613. and seven cameramen. I was, of course,
near the two main cameras...Copy !req
1614. but the other shots... Not this, this
was made afterwards and it was in fact...Copy !req
1615. the last shot of the movie, this one.Copy !req
1616. The last I shot.Copy !req
1617. Help me! No!Copy !req
1618. No, no!Copy !req
1619. This is a torture machine
that existed at that time.Copy !req
1620. These are stolen shots, which means...Copy !req
1621. that after a few minutes,
when the fire has grown...Copy !req
1622. just after the actors
do the main scene...Copy !req
1623. you have some moments
captured by additional cameras...Copy !req
1624. like the shot with the monks waving
their arms. All of this is rehearsed...Copy !req
1625. but when it's on, it's on,
and you cannot really do it again.Copy !req
1626. Sean wasn't very happy
with these rats.Copy !req
1627. I remember one of them
had climbed all along his leg...Copy !req
1628. had grabbed the fabric
and gone inside.Copy !req
1629. I must have an outtake somewhere...Copy !req
1630. in which you can see
Sean Connery jumping...Copy !req
1631. trying to get rid of this rat.Copy !req
1632. Here, the set has been transformed.Copy !req
1633. It was designed like that, of course,
to be able to cut off the top of the tower...Copy !req
1634. so that it gave the feeling
it had been destroyed by fire.Copy !req
1635. I had to control the fog density,
that was pretty annoying.Copy !req
1636. Here is what I mentioned, this set...Copy !req
1637. the top was designed
to be dismantled.Copy !req
1638. And, here, I'm in an environment
of artificial snow...Copy !req
1639. for this very...Copy !req
1640. complex moment. This shot
seems unimpressive...Copy !req
1641. but you must put the snow in at the
last moment in order to have the feeling...Copy !req
1642. of really fresh snow.Copy !req
1643. And then the density of the smoke
escaping from the donjon...Copy !req
1644. All of this is difficult to tackle
when you are on-stage.Copy !req
1645. The fog issues are usually
what requires...Copy !req
1646. the most time, when, of course,
you have to deal with...Copy !req
1647. the acting of the cast.Copy !req
1648. But you're often disturbed
by these material issues...Copy !req
1649. and thus, it's sometimes difficult
to concentrate...Copy !req
1650. on what's essential.
That's what you learn...Copy !req
1651. after some years of directing...Copy !req
1652. it's that you must ignore...Copy !req
1653. the material issues. You must resist
and concentrate on what is important.Copy !req
1654. One thing, about this movie,
it's that I must have shot it...Copy !req
1655. in 14 weeks.Copy !req
1656. We have more than 1000 shots,
and it was very complicated...Copy !req
1657. to make it in such a short time,
and so...Copy !req
1658. I made a choice, and it becomes
an aesthetic choice...Copy !req
1659. to have few movements...Copy !req
1660. the camera often being set up...Copy !req
1661. and very rarely traveling.Copy !req
1662. Here, for example, I'm set up
and I make a long zoom out.Copy !req
1663. Which gives a specific tone to the movie.Copy !req
1664. It's a film more established...Copy !req
1665. more studied than other movies...Copy !req
1666. I did before or after, in which,
on the contrary...Copy !req
1667. I had more freedom with the camera.
It mainly comes that for interior shots...Copy !req
1668. in order to have
an uncomplicated lighting setup...Copy !req
1669. we had to do them
from a fixed perspective.Copy !req
1670. This is an image done with doubles...Copy !req
1671. in this beautiful setting of Abruzzo,
which is a national park, near Rome.Copy !req
1672. And yet, now that I am
an old, old man...Copy !req
1673. I must confess that of all the faces
that appear to me out of the past...Copy !req
1674. the one I see most clearly
is that of the girl...Copy !req
1675. of whom I've never ceased to dream
these many long years.Copy !req
1676. She was the only earthly love
of my life...Copy !req
1677. yet I never knew
nor ever learned her name.Copy !req
1678. Here, we have these...Copy !req
1679. never-ending credits, because
such a movie...Copy !req
1680. requires the collaboration of a lot of
people. You have the historical advisor...Copy !req
1681. and the various advisors under him...Copy !req
1682. in the various
specialized areas I needed.Copy !req
1683. The final storyboard was made
by Norbert lborra...Copy !req
1684. who also worked on storyboards
on The Bear...Copy !req
1685. and who worked from my drawings...Copy !req
1686. and storyboarded all of the movie,
the 1000 images...Copy !req
1687. that was bound in a document
and handed over to the whole crew.Copy !req
1688. The day before the shooting,
my copy was stolen.Copy !req
1689. Some autograph hunters
arrived in a coach...Copy !req
1690. and stole this document
in which I also had...Copy !req
1691. reproductions of paintings I used...Copy !req
1692. for inspiration. And unfortunately,
this document was stolen.Copy !req
1693. We had quite a lot of thefts on the movie,
which is very often the case.Copy !req
1694. Here, we are with the people...Copy !req
1695. in charge of the music. Again...Copy !req
1696. on this movie, it was different, but
very often, we have to deal with...Copy !req
1697. impressive orchestras
with hundreds of musicians.Copy !req
1698. Here, the stuntmen...Copy !req
1699. didn't play a very important part
on this film. On the other hand...Copy !req
1700. the people you see here,
painters, sculptors...Copy !req
1701. are people I worked with a lot...Copy !req
1702. with, of course, help from Dante Ferretti.Copy !req
1703. But they were people whose work
I oversaw, at least once a week...Copy !req
1704. in Cinecittà workshops.Copy !req
1705. In fact, when you shoot such a film,
you have to travel a lot...Copy !req
1706. and spend a lot of time away from home.
I spent more or less...Copy !req
1707. a year and a half in Munich,
where I did pre- and postproduction...Copy !req
1708. and six months in Rome.Copy !req
1709. I must say that I was very sorry
not to be able to shoot this in France...Copy !req
1710. but I had a lot of problems
with the producers...Copy !req
1711. one of whom had been murdered.Copy !req
1712. On this sad note...Copy !req
1713. I am speaking of Gérard Lebovici,
whose death has been widely talked about.Copy !req
1714. I've looked with you, with joy,
at a movie...Copy !req
1715. that I had not seen for a while...Copy !req
1716. and that was a slice of my life. So,
thank you, and see you for the next one.Copy !req
1717. and that was a slice of my life. So,
thank you, and see you for the next one.Copy !req