Movies always resemble their director.
Moretti's are always full of madness,
burlesque, and more serious aspects.
He is very precise and scrupulous
in his work.
Very precise, very careful.
But, sometimes, he acts like a child.
He starts playing around and, then, returns to
his seriousness, his serious filmmaker facet.
For me, it's been a difficult experience, because I
have to speak Italian in the film, which it's
not my native language.
We were very careful.
We have taken great care of the Italian language.
On the contrary, Jasmine and Nanni already knew each other well.
It was like joining an stablished group of friends,
but as a film family.
He's way of working
pays attention to everything that is said and done.
He's never generic,
he's always very specific.
Both with humorous language
and more serious language.
In some movies, language can be political too.
But, as you said, he can give his everything in a shooting,
but he can also be very competitive, especially in sports.
During the filming,
we were on a tigh spot whenever we had to play tennis,
basketball... In the case of Louis, he experienced
Moretti's most intense moments with the sport.
It's the hardest thing to describe, because it's
part of the magic of cinema.
As an audience,
we have the impression that we are spying
on the actors.
Conversily, putting two actors together may seem fake.
You can't explain how chemistry works.
It's as sure as that two and two are four.
So, Nanni did a test to see if
there was good chemistry between Jasmine and me.
We were very hopeful, and it seems there was chemistry.
It's very difficult, because he did something more difficult.
He had to express himself
in a language that is not his mother tongue.
However, it's very difficult when,
on the set, the actors already know the
whole story, all the words that need to be said.
So, a moment before I pronounce something, I
already know what I'm pronouncing.
What we did in the film
was to try to be present in the
moment without making theories about love.
It was embarrassing at first,
like two people meeting.
We carried this feeling into the film.
You know that a director has his own life.
His imaginary is real, and his imagination
is very similar to his personal life.
The film is not quite like Nanni's further
filmography, because, for the first time, he is making a romance film.
He has never done it before.
He had made movies about characters who love each other,
but he hasn't actually done any romance movies.
It was a debut film in the romance genre.
You could tell, by level of excitement,
like someone making his first film ever.
I think that the conception of love
in this film is childish.
That is, without the awareness of adult love.
It's an uncontrollable outburst of love.
That love requires a language between lovers,
a new, made up language.
They are two very different creatures,
but they share a unique connection.
Do you know what movie it reminded me of?
A film I have always loved
since I was a child: “Edward Scissorhandss” by Tim Burton.
It's a fantastic story.
That feeling of self-recognition couldn't be truer.
We shot a tennis match for a week.
There was a lightness there, a fantastic atmosphere
on the set while shooting.
On the tennis court.
I have a fond memory, a very nice one.
There is a scene, too, just as intense,
which records the movement
of bodies as form of communicating love.
The tennis match is already
brings them together, which also suggests erotic nuances.
Besides, the street dancing, because it has nothing
to do with the dance of “La La Land”.
It's a dance of full stumbling,
a Roman dance, where we shoot all day
with women in that popular neighborhood of Rome.
There were women opening the windows
and then it started all over again.
The idea love not being clean, tidy, or pretty.
It just happens, it's alive, and it gives it a meaning.
The beauty of Nanni's filmography lies in its lightness,
which does not mean a lack of depth.
It's comes from light narrative.
Their way of innovating is never academic.
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