:11:02
You don't have as much control
as a director
:11:04
cos you're at the mercy of the budget
and the actors
:11:08
but it's communal, and that's fun too.
:11:11
I think the best answer
:11:13
is the one that Truffaut gave
when they asked him that question.
:11:18
He said, "When I'm writing
I like directing best,
:11:21
"when I'm directing I like editing best
:11:23
"and when I'm editing I like writing best."
:11:30
We had to build this cat myth.
:11:35
I don't know how valuable it was.
:11:39
This closet, for example,
:11:42
this is something that
Mr Scarfiotti agonised over
:11:48
in the placement of all the colour.
:11:58
The colour scheme is...
:12:01
The two colours
that we kept returning to
:12:06
were a kind of a salmon
and a kind of lime.
:12:10
I don't know quite why
those colours became strong.
:12:25
Backstage, looking onto a painted...
:12:28
There's Beatrice.
:12:44
It's probably a good time
to talk about
:12:49
the music.
:12:51
I'd done American Gigolo
with Giorgio Moroder
:12:55
and this is Giorgio again.
:12:58
It's all that Munich-derived synth sound.