I don't like
Oh,
speech speech.
without
to right click.
To your right. To your right.
>> Up your right.
>> Pop the phone down. Put the phone down,
please.
Can we have you for a single shot as
well, please, Miss?
>> Yeah. First
wave. Okay.
Okay. Okay. Okay.
>> Up here. Up here. To your right. To your
right. Okay. And this way. And look at
me, please.
>> To your right, please.
>> Up to your right. To your right. A
lovely bella. He's
Michael. Over here. Over here. Quick
look to your left here.
>> Hi. Hello.
>> Thank you.
I don't
No dramatic.
And there
Cutie cutie.
foreign.
Okay.
Hello.
Hallelujah.
Come on.
Let me set you something.
>> Andrew.
>> Andrew. Look at Andrew.
Junior
open. Open.
Guys, will you step to your right,
please? Step to your right.
>> Okay. Okay.
You left
goal.
Julia
Julia.
Thank you.
Hey
It's really dark.
What are you doing now?
As you can see,
They can even
know
I know
I have a picture.
Hold
on.
Hey, tell you
No.
Good afternoon. Thank you for coming to
the press conference of the filming
competition after the hunt. Uh before we
start, I'll introduce my guest uh
starting from the uh uh right uh the end
right of the of the table. The
screenwriter Nora Garrett,
the actor,
the actor Michael Stoolberg,
Julia Roberts,
>> the the director of the film, Luca
Guanino,
actor uh Andrew Garfield
Ao Eddie Beiri
and Chloe Cavini.
>> Okay, let's start there.
Congrat Hello everybody. at Steven
Schaefer for the Boston Herald. Uh,
congratulations of course on the
wonderful film. Um, these this is a
movie filled with compromised characters
and I wonder for Julia and IO
specifically,
what was so attractive about playing
these very troubled women?
IO,
Miss Miss Roberts.
I mean, Trouble's where the juicy stuff
is, right? It's uh
>> all that great complexity that Norah
wrote for all the characters really is
um I think what assembled this kind of a
group. Um
>> because once you it's like dominoes of
of conflict. Once one falls then
suddenly you know everywhere you turn
there's some new piece of of conflict
and challenge and you know that's what
that's what makes it worth getting up
and going to work in the morning.
>> I uh I would have to echo that
statement. Um I I think yeah there was
just so much
so much rich complicatedness um in all
the characters and uh that's just like
the dream I think to what you said Julia
about being challenged. It's like by the
type of character in the best way by
each other. Um that's just I think how
you grow and that's the type of movie
that I really enjoy watching. where you
just are like I have to go back because
maybe maybe the vantage point that I had
at the beginning I realized by the end
is completely different. So yeah there's
a lot there for us to get to play with
and learn from. Yeah.
>> Before we take the next question I would
just like to invite all my castmates to
open their cans.
doesn't interrupt any of the incredible
things we're going to say.
>> She she was like this every day on set.
>> When her can had to be opened, everyone
>> all of ours would open.
>> It's like the microcosm of Julia
Roberts.
That's a joke.
>> I think we have a question there.
>> I think your mic isn't loud.
Hi. Hi. Hello. Good morning, Maria
Spain. Well, congratulations on this
complex and provocative uh movie. It's a
question for Julia Roberts. Amazing
performance. Yesterday, after the press
screening,
really the movie caused controversy.
Many women were talking about this um
that this movie undermines the feminist
princip principles and undermines the
feminist struggle. So well this is like
the the the dilemma of the of the movie
as I
see saw yesterday. So I' I'd like to you
I'd like you to I'd like to know to your
stance your thoughts on this um well on
this dilemma. Is is this a movie which
undermines the feminist struggle and
it's a postme too movie?
>> Thank you Luka. Um, I mean, I realize
we're we're here on a clock, but just
when you say undermines the feminist
movement, just can you give me just a
little morsel of how in what way do you
see that?
>> It comes back, it revives the old
argument
between the the the fight between women.
So it is like the the it casts a shadow
on the accusations
of women. So it is like the old
narrative of the
abuse. Well, I think uh not to be
disagreeable
um because it's not in my nature, but I
would say the thing that you just said,
Maria, that I love is that it revives
old arguments. And I don't necessarily
think it's sort of reviving just an
argument of women sort of being pitted
against each other or not supporting
each other. There's a lot of um
old arguments that get rejuvenated in
this movie in a way that does create
conversation. The best part of your
question is you talking about how you
all came out of the theater talking
about it and
that's how we wanted it to feel that
everybody comes out with all these
different feelings and emotions and
points of views and
>> should we hold for that?
um and things that they you realize what
you believe in strongly and what your
convictions are because we stir it all
up for you. So, you're welcome.
I
I like I like to bring Nora and Luca on
on on on this savage because I actually
thought that both the script and the
film did a remarkable job in um
addressing the complexities of this
issue and and you know this is very much
a film about personal responsibility and
and what we tell ourselves not only what
we tell others and and I think it's very
refreshing bring an extremely uh
refreshing uh perspective on uh an issue
that seems is unsolvable, you know. So,
uh, Nora first and Luke after tell me
how you tackle this complexity.
Um well I think Julia answered
beautifully first of all but I do think
that something that is difficult when
you bring these questions that are
central to the film and something that
Luca was very focused on during our
collaboration was this idea that you
there is so much nuance surrounding
these conversations and surrounding
these particular issues and that like to
imagine that we have completely moved on
into a separate wave of feminism. Um, I
feel like undermines what's actually
happening and undermines the reality of
being in society and being with each
other in society. And I think what we
were trying to do was just to bring to
the four something that felt true and
real and also something that again, as
Julia said, asked people to ask
themselves what they believed.
Um, I'm go I'm going to go in English
even if I'm Italian in Italy. Um, I
think that the the idea is of the movie
that I really love is that we are
looking at people in their um truths.
Everyone has their own truths. It's not
that one truth is most important than
another from the p perspective of
filmmakers and artists. is that how we
see at the uh clash of truths and what
is the boundary of these truths
together. It's not about making a
manifesto to revive old fashion values.
By the way, who knows us publicly and
also personally cannot think about that
in that perspective.
>> I think there was a question here in the
first row.
a question for
the beginning at the beginning there's a
discussion where you speak of your
generations like a clash. So how does
your generation experience this visa the
fact that you are very active in
Instagram on themes that are associated
to current issues. So this sort of
responsibility that there is
later. Oh, I'm so sorry to the
translator. Could you
>> do you want to ask him to repeat the
question?
>> Yeah. Sorry.
Could you repeat the question? Sorry.
>> At the beginning of the film,
the character of Andrew Garfield, you
have this discussion amongst your
generation. So you are very active in
Instagram. So visav your generation do
you feel you you have a responsibility
uh when you talk about current issues?
Graat. Um, I mean I think as a human
being and also as an artist like my
maybe idealist belief is we all have
responsibilities to each other no matter
how big and small. And um yeah, I mean
that's definitely as the character of
Maggie I think was really interesting to
me and attracted to me because
I don't think she necessarily believes
that and kind of inhabiting somebody who
who maybe comes from that perspective
was yeah just very fascinating and I
think the conversations we were also
having like creatively it it just
brought up a lot which as an actor It's
always exciting.
You're supposed to hear.
>> Hello. Uh, this is Ryan Latanio from
IndieWire. The question is for Luca.
Luca, tell us why the opening credits of
the movie are in the style of Woody
Allen.
>> The correct answer would be why not. But
uh um I would say um
I think
there is a cannon
that I grew up with and when I started
thinking about this movie with my
collaborators
in front of the camera and behind the
camera Malikas the director of
photography and Stephano Bayi who work
on the production design and Julia
Persanti we couldn't stop thinking of
crimes and misdemeanors or another woman
or even Anna and her sisters and there
was an infrastructure to the story that
felt very linked to the great of Woody
Allen between 1985
and 1991 I would say and I played with
that a few times before this I did
couple of times use that kind of
graphics and font and I felt it was also
a sort of like interesting nod to um Um
thinking of an artist who has been in a
way uh facing some sort of problems
about his being and what is our
responsibility in looking at the work of
an artist that we love like Woody Allen
and by the way it's a classic that kind
of font
>> no
>> I just want to conclude it's such a
classic that it goes beyond vood.
>> Thank you
for BNR Radio Bulgarian. I have a
question for Miss Roberts, uh, Mr.
Guadinino, and Mr. Garfield. Uh,
throughout the whole film, my impression
was that every character was lying to
themselves, to other people,
impersonating other people. Um, could
you um as Miss Roberts, Mr. Mr.
Garfield, what is the truth for you as
um individuals living your daily life?
Is it subjective? Does it have to be
objective every time you encounter
someone or uh you hear someone telling a
lie? And where does the responsibility
lie or or is a responsibility like a
words also a fiction?
for you three. Thank you.
>> I think Mr. Garfield would like to
address this question.
>> Um, what I love about I love the
question and it kind of gets to the
heart of this film and why I was
personally attracted to it. Um,
and it's for me about if we don't make
the unconscious conscious
things will happen in our lives and we
will call it fate.
And that is like a bastardization of
Carl Jung, I think. Um, so sorry to Carl
Jung and to all of you. Um, but that
that that really excited me about this
and and I and I feel like
when our motivations are invisible
even to ourselves,
all of us are unreliable narrators and
um especially in a in a culture where
survival is paramount or a kind of
perception of survival is um paramount.
And as we all know,
human beings will behave animistically
when we are put in a position where we
feel like it's life or death. And I I I
found that really really interesting
about about this world and about these
characters and how their drives, their
wants, their their needs are invisible
to themselves in certain ways and
they're convincing themselves that they
are the the protagonist or the hero of
of of this story. Um, yeah, fascinating
to play to play with what's unconscious
and what's conscious.
>> It's right there. I would just say, uh,
agreeing with Andrew that yes, I am the
hero of the film.
Um
but additionally I would say that Norah
has done an an exquisite thing that I
always thought was
fascinating in that the there's a group
of characters in the movie myself and
Andrew and Io we are in the philosophy
department of school. We are the
philosophers and then we have the
therapist and the counselor.
So that is what inhabits this this space
that we're in. And I think that that's
so interesting and fascinating that
those are the the labels that we have as
our sort of jobs to be philosophers and
interpreters. Um,
so what you make of that, you can do
that at lunch amongst each other. But I
that's what I just thought was really a
key element for all of us to get to play
with.
>> No, for me I think that um it's always
interesting to see what we carry without
knowing we carry within ourselves and
how we are acted out by things that we
don't know we are acted out about. And
to see that being um happening in in in
the in the in the confrontation between
characters and in performance of course
it's fascinating. I think that uh
um even the lies of people tell the
truth as we know very well in many
places in the world right now.
>> A question for Mr. Guadino.
a question on your career.
You started with a film
and then there was like a gap and then
suddenly you became particularly
prolific and all your films are very
much waited for and appreciated. So what
happened in that gap in that gap
and then production production you're
very active also in producing films.
When you decide to produce when you
decide to be a director that's a
question and congratulations for ask for
asking Julia and I to be your actresses
because I really adore them
>> and Chloe of course.
>> No thank you to having said yes to me.
Um,
>> my first film was the protagonist in
Venice. Alberto Barbara chose that film
for the new territories section.
Well, my personality
is I mean a very I'm a very active
person. I like doing a lot of things. If
I have the opportunity to do things, I
do them. or director. Sometimes it is
possible and other times it's not. So I
feel that I'm very lucky and it moves me
that people like me so much that people
want to work with me.
I'm surrounded by people who help me do
the film and I'd like to deeply thank my
dear friends from Amazon MGM who have
supported me with a great passion over
the years with
very consistently and given me full
freedom to research artistically and
that's something without power as far as
I'm concerned. I produce because I love
directors. I love directors. Directors
are my passion.
I like their mentality, their
personality. I don't feel that I'm in
competition with them when I produce a
film is because I feel that that
director, those directors
have the film in their hands. And so my
task is simply that to be somebody who
guides them. I find the money and ensure
that each one has their ability to
express themselves and that's something
that I've had the uh the privilege of
obtaining thanks to the studios that
I've worked with and I'm thinking
particularly of Amazon MGM and all the
people who have supported me
question for Miss Roberts
congratulations for this beautiful
interpretation that believe Mark, but
this is my question because this film
faces complex dynamics which are very
topical and important gender privilege,
privilege associated to ethnicity and so
on. Do you think that that will lead to
controversy? Do you think the film might
be accused of being a politically
incorrect film?
>> I love the softball questions early in
the morning.
I don't I don't It's such a story to me.
It it's um
it's just
to me it's almost like I remember the
first time I saw this film Tender
Mercy's and I just thought there was
something magical about the idea that a
kind of camera just landed in a place
and happened to document what was going
on where it landed. And that's how I
feel about this movie is that we're not
making statements. We are portraying
these people in this moment in time. And
the camera has fallen from the sky in
this particular moment and and captures
all this. And
that's what I think is sort of
incredible about it. Um,
you know, the sites that you get to see
into this marriage, which not to take
away from anybody else, but this was
just some of the most fun excavation
because I felt like to be with Michael
was not only an actor dream come true,
but their relationship is so complicated
and I thought so many people won't
understand what this love is about and
so many people will And and so I think
in that regard uh I don't know about
controversy per se but we are
challenging people to have conversation
and to to be excited by that or to be
infuriated by that. It's up to you and
if you drink martinis or lemonade after
the movie. That's kind of how how I saw
it. And it's not so much that we're
making a statement. we're just sharing
these lives for this moment and then
want everyone to go away and talk to
each other. That to me is the most
exciting bit because we're kind of
losing the art of conversation in
humanity right now. And if making this
movie does anything,
getting everybody to talk to each other
is the most exciting thing that I feel
we could accomplish.
Michael, I'd like to follow up with a
question to to Michael because it's
true. It's it's here in the table at the
end, Julia.
Very far. Hi. Uh because it's very true
what Julia just said. Uh the
relationship between you and you know,
as a as a couple, it's it's a very
profoundly fascinating, you know, and
the way Michael appears to take a step
back from the intrigue that's going on,
but he's there and they have a parallel
uh love that that works. How would you
describe this marriage or your point of
view of of of your character?
>> I think it's
a a sing a singular marriage,
an unusual marriage, a deep one, uh best
friends,
complete trust,
history,
uh
understanding,
sacrifice. All of these elements come
into this relationship between these two
individuals.
Uh
I find it a unique multi-layered
um
and a true examination of individuals
who have made a commitment to each other
and under extraordinary circumstances
have each other's back. And I think they
know that in the deepest parts of who
they are and that whatever it is that
they end up going through as
individuals, they'll at least know
there's one person in the world who who
understands them and all their
complexities.
And I think that was an extraordinary
gift to try to understand to to play and
mixed in with all the other textures of
all the other individuals in the story.
makes us, I think, want to dig deeper
into what those questions that are
perhaps alluded to in the script, what's
beyond them. And I think that's part of
the gift of this film as well in that
what you experience as individuals
you'll carry away with you after
watching it and you can ask each other
what it was that you sensed or observed.
Oh, I missed that. Oh, that happened. I
missed that. I'm going to go back and
look at it again. Why did they say that
thing?
I think there's so many answer questions
and that's part of the fun as well and I
think the audience brings those answers
with them.
>> Someone there has been waiting for
a lighter question for Miss Robertson.
You tell us about your relationship with
Venice and in all the confusion of the
festival. Have you been able to meet
Italian friends, foreign friends? Have
you visited something of the city or
have you got too many commitments to
appreciate the city?
>> Um, I had a great tour plan this
morning, but I'm here.
We I I mean, I don't know about anybody
else. I Uh I have worked here so I have
been lucky enough to spend some time
here in the past and it's so magical.
It's one of the most inexplicable and
magical places. What what is it even
doing here Venice? Like what it's just
so incredible. Um but no have not done
anything outside of work but even as we
were coming over this morning I just
said look where we are. Look what we're
doing. It's like a dream truly.
I I have one question before before we
close for Luca because I think it's
important. Um after two you made two
films about uh the margins about
characters at the margins. This is
really an elite and it's a very specific
what did you what did you what
fascinated about academia specifically
acade you know American academia and
with and the department of philosophy?
Well, I thought it first of all I I was
very much impressed by Nora's script
that came to me and that was kind of
talking to me and was kind taking a
conversation with me that I already
started within myself about the idea of
power. What do we want when we are
looking for power? Why we want power?
Why we fight over uh getting power in
our hands and taking it off other out of
people's hands? And this script came to
me and it was fantastic. and I and and
the struct and and the and the
infrastructure was fantastic because of
course I'm sorry but I always think in
cinematic terms and for me the idea of
Yale the idea of the academia the idea
of these corridors alleys classrooms
apartments and bars and restaurants were
so iconic and universal in a way because
they were like the part that says all
about the sun and um for For me really I
like I always ask myself
what do you want
and I so far answer to myself that I
want tranquility and when I see the
ambition in other of wanting something
that is an affirmation of the self
beyond and above other people I'm quite
interested in that because it's just a
damnation. So I think it's so beautiful
to have the opportunity to explore that
kind of blind quest between people like
that you're going to go and do anything
to own power that you have to be defined
by the power you have you know but there
is this great uh Bibli by Herman
Melville who says I prefer not
>> and so for me this movie is about those
who want instead of prefer not. So I
kept making movies about people who
prefers not. But this time I wanted to
revert the pers perspective.
>> And unfortunately we have to finish
here. I thank you so much for our guest
and for the film.
>> Sorry I never
fine. I didn't expect it. No. Byebye.