:31:05
Maybe that's about all
we need to say about that subject.
:31:22
This was the first film
I directed that I didn't write.
:31:29
I had just figured out how to direct,
:31:32
the first two films -
Blue Collar and Hardcore -
:31:36
I was just trying to survive.
:31:38
By the time I did Gigolo I got a notion of
what it meant to think visually.
:31:44
And a lot of that was being
influenced by Mr Scarfiotti
:31:50
and I sort of went to school
at his visual school.
:31:54
I like this shot here, you start inside,
:31:59
back, and dolly down the street -
:32:02
look at these big oysters
Nando put in there -
:32:05
there's a jump cut there
as we pass the dark
:32:08
and then we come back in.
:32:14
I guess that really speaks to
the point which I'm making,
:32:19
which is that I saw this as
a real chance to think visually.
:32:26
Because I hadn't written it
:32:28
and wasn't supposedly invested
in the story or the theme
:32:33
and because it was a genre film,
:32:35
I could just see it as
colour, shape and design.
:32:42
The great influence on me
:32:44
and a number of directors
at this time was Bertolucci.
:32:47
And, of his films, it was Conformist,
:32:51
in this film there are shots
stolen from that film,
:32:54
I went through a period
where almost every film I made
:32:58
had shots from Conformist -
:32:59
shots in Gigolo, in this film, in Mishima.