Paolo Sorrentino è stato intervistato da Drew Taylor per The Playlist – Indiewire, nella sede di New York della Criterion, l’etichetta dei capolavori del cinema in homevideo.
La Janus Film, del medesimo gruppo, ha distribuito La grande bellezza nelle sale americane ed ora sta per uscire un bluray special edition, proprio per la Criterion. Un onore riservato a pochissimi cineasti (e ad ancora meno italiani), che quest’anno Sorrentino condivide con La vita di Adele di Kechiche.
Taylor interroga Sorrentino sui suoi debiti con La dolce vita di Federico Fellini: My film does tackle the same issues that “La Dolce Vita” deals with, however I tried to not allow myself to be influenced by that, because “La Dolce Vita” is a masterpiece and one doesn’t touch masterpieces. You don’t even go there. You just let them be wherever they are.
E poi sul suo modo di scrivere: Over the course of several years I’d been taking notes on several stories and things and people. And that’s how this character got fleshed out. All I had to do when I sat down to write was connect the dots between all of these notes and bring them all together. So the way I work, I put down a first draft by myself and then I send it to my co-writer Umberto Contarello and he reads it and then writes a second draft. And then he sends me a second draft and I work on a third draft and send it back. This ping-pong game continues until I shoot.
Quindi si passa alla musica ed ai movimenti di macchina: first of all, film is an illusion. And the illusion is being able to solve a mystery. So by moving the camera it’s as if I’m following a thread that leads to the unveiling of a mystery. And I like to tell this tale – of the revelation. Also, the filmmakers that I consider points of reference, who I grew up watching and admiring, like Martin Scorsese or Fellini or Bertolucci, move the camera a lot, and I grew up liking that. […] Moving the camera makes people work hard but also feel gratified for what they did.
Infine Taylor conclude chiedendo a Sorrentino se girerebbe un film hollywoodiano di genere: A film noir. I would love to do a film noir. Not necessarily period, but set in present time. I’d love to do it in L.A. I love movies like “L.A. Confidential” and “Chinatown,” and I’d love to do a movie like that. […] I’d be very happy to do that. It just hasn’t happened yet. It’s something I’d love to do.