Directing and writing this story was kind of a symphony, okay, so you get different elements.
You want each element just to play their own range.
So when you know already what elements you want to play in your piece of symphony, it's
going to be easier.
You have kind of a preview in your mind.
I love what I had as the production value, not only for the people but also for the landscapes,
like for instance the last shot of the film, Watch Shot in Campo Follice, which is a place
in the top of the mountain, is that many people, when I was doing the first screenings, was
asking if that shot was computer generated.
Let me tell you that it's completely real.
It was like working with the actors.
I knew them already, so it was way easier for me to understand the range of emotions
that we can play with that instrument.
We've been talking about this project since its inception, really.
He's always wanted to have me on board, and we've been talking about the specifics of
this film for quite a number of years now.
We were lucky enough to be shooting with the Arri Alexa XT Plus with TechnoVision Anamorphic
Lenses for this production, which really added a great flavour to what we were doing.
It's a drama film primarily, so having that extra visual element really gave a good benefit
to what we were trying to achieve and added a richness that is hard to achieve when you
don't quite have that level of production.
We got my dream equipment for shooting, coming from a technical environment, even for post-production
or visual effects.
I know very well how the pixels are going to be handled after.
These young directors and directors of photography, fortunately, discover the beauty of the Anamorphic
Lenses. The Anamorphic Lenses is a very precise language. The historical films are almost
all in the Anamorphic Lenses.
The pictures on the outside, where there are mountains and trees, you know, it's wonderful.
I've entered a school where the first Anamorphic Lenses was brought to Italy.
The first series of Anamorphic Lenses arrived in Japan, and everything started here, in
the Philippines now.
When I entered, the preparation of the film started, so I was an apprentice.
I was just looking, I didn't do anything.
Let's say, the difference between a film made in spherical and then anamorphized, a film
made directly in anamorphic is very simple. If I do a spherical film, the circle is round.
Then, in the laboratory, I have to stretch it again, taking the oval to then put the lens
in the projection projector that compresses the image and returns round.
To do this, I make an enlargement, and therefore the definition comes to miss.
While if I do the film with the anamorphic lens, it comes directly oval, so I don't
make any enlargement. I put the anamorphic lens in the projector and make it
compress and return round. This is the only difference.
The quality is clearly superior to the anamorphic film.
These are the first anamorphic and historical lens, Tecnovisio,
built in Japan for Tecnovisio.
This is an example of Cook and this is an example of High Speed, always for Tecnovisio.
This is the wide-angle lens for excellence.
This is a 25 mm T15 of diaphragm.
This is almost 180 degrees of field.
This is the last emperor.
The square at the top is the square with the 1000 bars, and this man is here.
I was very impressed when I watched for the first time the film in a cinema
because it's not kind of a regular movie.
It's kind of a huge technical movie that is not used for this kind of drama.
But for me, the kind of story you are telling is all about the film's
experience and the cinema and the size of the screen is making that what you are
watching is bigger than the life size of the story.
Tecnovisio makes everything, not only the pixels or the music, but also the emotions.
