Presented in official competition at the 2015 Cannes Film Festival Mia Madre de Nanni Moretti released in theaters this Wednesday, December 2. Meeting with the Italian master …
Screenrush: “Madre Mia” is a short film and a feature very different from your previous. Is the last movie you realize this is always: a sum and a step forward or sideways
Nanni Moretti I do not manage to be an interpreter or a theorist of my cinema. It’s a bit difficult for me. Let’s say that I regard my films as many chapters of a single novel. I think in this film as in others I turned, there is a mixture of comedy and drama. I have only done a jamas comedy or only drama. Maybe in this film, and that’s what I hear from viewers is even more striking because there are times when they have big emotions and others when they laugh. It’s not that I put myself in front of a scale and I think I’m going to put a certain percentage of comedy and drama as a percentage, it’s just my way of telling. However, if your question is a way of suggesting that Mia Madre is the film of maturity, I think so. Although it is not a question of maturity pacified with itself. I like the character of Margherita Buy. She’s always fighting against itself as I am against myself
I like the character of Margherita Buy. always fighting against myself.
The difficulty to theorize your cinema is something that comes up regularly in your interviews. And this problem seems to increase with the years … Is this because your frontal cinema becomes more emotional?
I do not know if this is the reason . I like to work a lot but it takes me a great effort to explain why I do certain things. I can explain the “how” but precisely “why” … I will take one example, that of the scene where a long queue can be seen at the entrance of a cinema. What it means precisely its “why” I do not know. It’s a mix between memory and imagination. The memory is the art room and testing of the 80s, when there were often long queues and is now a conference room. At first I imagined that long line, without beginning or end. Then I thought it had to have Giovanni and mother. Then after this long walk people, I decided that met Margherita herself young. Are there any specific reason on the fact that they will all see precisely Wings of Desire by Wim Wenders? I do not know. It just came to me the idea that they were going to see this film. I did not want to be too realistic, it is for this reason that I have not used the real poster Wings of desire. My designer has reinvented. I did not want in this scene, which is a fancy between imagination and memory, to have something as realistic.
This disorder between dream and reality, between imagination and memory, is recurrent in your movies. We felt it in “Aprile”, among others. You do not mark this shift in your films between one and the other. Why this interest in this shift? Because only the cinema can create as easily and effectively this disorder?
What interests me is that in this way we are in emotionality of Margherita. Anyway, time to Madre Mia is the emotional time of this character. Everything goes, everything lives in the same time with the same urgency. The concerns for the girl, the pain for the mother, labor issues, but also the memories, dreams, reality … I do not want there to be jarred or breaks in style between the film Margherita and reality, memories and dreams.
The time Mia Madre is the emotional time of the main character.
This is the only comparison between what I’ll do “Madre Mia” and “The House of the son,” two profoundly different movies … They all have a strong common: they operate on a very tight story even on just a few characters. Is it a coincidence that these two films both speak of mourning, even if they approach at two different times?
The idea not to do involving a multitude of characters came naturally. These are two films that focus on their story and where it lacks any mention of the news. There is not a newspaper headline, not a radio or television on the information. I also think they are two very different films although I noted another analogy. It is not specified in the dialogues and remains in subtext: the main characters are not believers, making the experience even stronger mourning. Parents in The House of the son or children, Giovanni and Margherita in Madre Mia. This is not explicit, as I said.
For a director, over the film, is that rather than knowing what you want to do it has the absolute certainty of what one does not want?
This has always been my starting point, especially in working with collaborators. When I write, I know what are the dialogues that do not like. And I immediately critical that the antennas are avoiding me. I know what I do not want a decorator, a director of photography or a costume. Obviously we must not cosntruire a cage around and be limited too much, otherwise it is no longer free to do things. I think I was as useful in my life to see so many bad films! It is useless to read bad books. Bad films, however, help to develop critical thinking.
bad films help to develop critical thinking.
In this interview, I ‘ have proposed to Gilles Jacob, the former President of the Cannes Festival, to write a few words about you. He very kindly agreed. This is what he wrote: “It’s not a FILMMAKER apart as one would say of Bresson, this is a FILMMAKER of intimate, personal FILMMAKER A FILMMAKER that says I And more. time passes the more carefree side of filmmaker-actor who imitated the rumba which squirmed on his motorcycle leaves room for a deeper artist’s responsibility cancer, the death of a son, the death of a mother without Never is this essential weighing: Pope terror not to do that is accompanied by the volleyball match, the illness of the mother by the hilarious scenes filming The bottom flourishes in the existential and metaphysical. . Basically MORETTI films are like de Chirico paintings which we would add characters with the giggles. Nanni already has considerable work of a perfect unity. I like it. “
(Pause. A smile and a laugh … Then visibly disturbed) What an honor! (Again pause) I have to comment? I am moved … I owe a lot to Gilles Jacob, the Cannes Film Festival and France. The welcome from your country to my films helped me from a certain point in my life until now. (The interview ends and Nanni Moretti keeps the sheet where the word is noted Gilles Jacob)
Interview in Paris November 5, 2015 by Thomas Destouches
Special thanks to Gilles Jacob
The trailer of “Mia Madre”, in theaters December 2 :
Mia Madre Trailer
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