chews up still. life on the go. video on demand she's mine. for a sense feeds now in the palm of your. question on the call. nine thirty am in moscow here are jihad law washington changes its mind over showing the world through post bin laden's death but this said other and consistencies pave the way for more suspicions about the operation against the al qaeda head in the. international criminal court seems to arrest colonel gadhafi as for alleged crimes against humanity meanwhile speculation mounts a coalition forces only took action in libya when discovering its leader was trying to get a dollar in oil trading. at a russian rocket gets rolled onto

a european large crowd as part of an ambitious joint project the move will check if everything's in order ahead of the summer a launch which is meant to open a new chapter of space exploration. that's we need the director of the venice film festival to assess whether the european film industry will be able to challenge the dominance of hollywood spotlight coming up. for the full story we've got. the biggest issues get the human voice face to face with the news makers .

hello yellow welcome to spotlight the international politics. as of today my guest is mark. italian the filmmakers are among those who many times revolutionized cinema they often brought in the patients became examples for their colleagues world like their names like the lead bertolucci and until the early hour synonymous with creative exits were in movies through the now and well to answer this question is one of the biggest names in european cinematography director of the venice film festival marco. russian and italian cinema has much in common both are deeply psychological italian film makers

as well as russians have always been interested in dramatic advance and tragedy. their creative approach always forms of self-expression but the reality is both russian and italian taking the seen better days or has it. been privileged to have you in the studio thanks for the pleasure thanks there thank you for coming well first of all congratulations on this mini film festival that challenging parts of the italian year and will well we've already sold our views about this event and it's really really something for russians to see a challenge from the big screen yet. i want to ask you a question straight away don't you think that today. russians see less italian films and big screen than the used to in soviet time. as we're watching through the

iron curtain they will watch only in films is that true why but that's probably the case with russia and france and italy i mean can we facing a situation where i mean our screens are cute pied by american films they have very strong strategies to monthly and dedication i mean i think. even in russia for your national films it never goes beyond twenty percent of the screen space so. it is really the distributors that want only money and they don't care nothing else it's really a matter of you know getting used to having a reduce variety of offerings and obviously you know i mean the viewer is the what we call audience i mean the different groups of viewers if they'd done keep being stimulated. you have to stimulate the hunger and the thirst for something else so they get used to always the same dish and that is what explains very often the

success of films which are slightly out of the norm i'm talking about american films well some say that tell you in russian cinema or are facing similar problems in trying to resist as hollywood expansion they explain their problems with russian cinema they say it's a lack of money lack of financing problems with the with the economics of film making in italy is it the same or is it something different well you know i mean it italy bade the producers and specially the big production groups they have devised a system to counter. the american attack and that is to say they somehow very schematic a very simple comedy studio audience and that's how we finally reverse. and i mean. we had one commented on the new comedy by

a very well known television stand in comedian take out a loan and who finally broke the five million people. in the movie theaters and with you know video piracy. and all the other phenomena that are reducing you know the appointments with real films on a big screen that's something but you know that that was always the case i mean twenty twenty twenty thirty years ago we also had box office hits and most of them were color it isn't very often quite. ingenious come it is. well so they looked at least and but what is what has changed is that still what we have called over the years in the helen cinema is still alive and the film we have chosen for opening this mini cycle in moscow the solitude of prime numbers

last a little in the military me is actually. the best known comedy drama here. in italy from from last year i mean it made four million euros so it means probably at least five hundred maybe close to six hundred thousand viewers saw this movie you just started sharking. saluki the new mini premier of the solitude of primitive numbers it really was ahead it really had the box office in italy those that mean that they use it would repeat all that they actually want to see serious movies what we call quality research and the directors just don't deliver more because they were money to they would cost money they don't think that there's no more and to me only isn't bird flu she's i don't believe that well i mean there are still i mean with cost cancer is

a good example and you know on the other side we have somebody like. i'm sure that. if she was a russian filmmaker she would be called an extremist. of the list but also because of that i mean she managed to create a pension for a film in italy she should be called when east. in italy she says she's been called a lot of play and i thought i released it now because obviously i mean what happens is when you're doing a serious drama film then you can you are allowed to be an author but rebecca tackle with the form that is supposed to be you know the perfect form to create consensus. comedy so she made comedies about the mafia she made musical comedies actually about mafia she made musical comedies about illegal immigration and prostitution so that really

a wave of political correctness and everybody wanted to smash the director who are you know to tackle such serious subject matter. with such a light for you know what was she she started doing that and then and then their favorite camera that. they followed in the footsteps of i talk about political correctness you would start being mark about this winning military strategy of hollywood on the european market you said you said you mentioned the italian strategy which doesn't seem to be working very well at least as good as the american strategy do you think the europeans should imitate the hollywood strategy not in the quality of the films but in promoting well probably i mean we should prove that. in both cases russian and italian cinema i mean there is so much more than what normally gets. to most of the screens even in provincial cities very

often you get you don't get to see some of the new films by young talented original authors. but what is most important i mean there should be a strategy also to prove that. our films can travel beyond the borders of our country and they i mean. you mentioned phil ini i mean philip was definitely one of the speakers manful. made in italy you know everything made in italy became. interesting also because you would see that in helena's film so i mean i think they should be a lot of support for an international a different internet impact of our films and your films because in return you create a lot of visibility and a lot of awareness for

a situation that luckily both in russia and in italy if it's in movement it's in concert transformation well you run an operation i mean the film festival at the venice film festival which is considered to be one of the most intellectual film there was will you continue this trend will you will you stick to try to try to promote pioneering technologies pioneering approaches rather than commercial production say the very we program first through the we program the most rather than his festival in an intellectual way we try to choose films with our belly and heart before we would do the old intellectual rate reasoning i mean i i think i would i would always. have dulled about film scripts denounced and emotion and emotional response from my selection committee and obviously also for myself so i would be wary of those films and would try to emphasize films that at

least you know can or should create the climate of. of a rock concert or a football match we had quite a few of those in venice last year you establish the special prize in venice for three d. films is what's nice about three d. when i was a little kid three d. field was shown in downtown moscow in the theorical doctor you know so what's new good and what why so much fuss about that i mean. obviously it's still you know three d. has come and gone many times already. quatro forestieri of those here or there became quite true then they put it because it was just a gimmick here but i think this time luckily i mean we have very major talents trying to tackle different ways of of flying storytelling so they

would use three d. in a different way the they can be new forms of story the least new approaches that could be realized through. a new visual mean that simply offers you a different landscape a different visual landscape i mean i am quite excited because we just saw in berlin what both the inventors and then i had could do with three d. cinema and in italy we're very proud because we're not the bad pollution it just announced last week that he will be doing his first three d. movie it will be shot in three d. at shot in three d. and obviously i mean you cannot even show it later on you know and you cannot imagine the little she trying objects at your face or you know using any of the they easy gimmicks that. pretty commercial movies are not in an age where it's

important if it was him or his producers make this is i was it was his decision and i had lunch with that he thinks if you'll to say says mark millar director of the venice film festival spotlight will be back shortly after break so we'll continue to stay. download the official antti outlook ation q i phone or i pod touch from the i choose apps to. teach life on the go. video on demand parties mind bold colors and r.s.s. feeds now in the palm of your. question on the quality dot com. a moment when the world has

changed forever. thousands pounced to nothing. thousands wounded. hand to suffer the. most the first but probably not the last military uses of this weapon. well many more will me come. on get on in the. welcome back to spotlight algren love and just a reminder that my guest in the studio today is mr marko miller very rector of the

venice film festival mark and we started talking about three d. we'd start the bit about russian movies well. there they are printing technology technology is that were introduced in the soviet union. long before they they they started it they started taking over the world like three d. like pattern technology three sixty three sixty movies there that's true is that you remember that absolutely no you know i go to of it in very often to try and see as many multi-screen films as possible and i'm sure that that is bound to come to our part of the world to russian films actually are regularly featured at the venus fell fast through and they often are highly regarded let's take a look at some of the winners in a report by spotlights here and examine. this is the first of your talk in the

chair who wrote the life it was also the first man to get recognition at the nineteen studio two new live founded the nice film festival. about homeless children but finding out some filmmaking like that was priest had been highly realistic throughout the history of the first of all three russian films you can start who weren't the golden lion. was one child by andrew who's recognised this one of the finest filmmakers of the twentieth century this nine hundred sixty two story of a twelve year old boy whose life was stolen by the world with the nazis was the great masters first feature found the collapse of the u.s.s.r. in one thousand nine hundred ninety one was celebrated in the news but the word in a golden lion to nikita me how schools to eden though of story set in the boston golden step. twelve years later andres dragon since the return snatched the coveted

trophy at the first of all the dark and this is a coupe airable of a father son relationship one in hearts of the jury on top of his success there have been a number of other russian movies too we all know isn't the first to go last year another triumph for the country cinematography knowledge see for dorchin because silence received a twelve minute standing ovation from a festival audience and although the best film prize escape this way to store a of lot and. minded three words including one for best camera work. america you got a special award it was in two thousand and seven i think for four for promoting russian cinematography is it because you have a special feeling especially attachment to russian culture or why do you think that it's just something you need to have in the business in the festival business in

italy you know i think i have a my relationship with. russia and see them as always been a very passionate one but it it was easy because i mean i fell in love with russian cinema apart from you know my general education as a cinephile where i saw a lot of the soviet classics i mean i i happened to start researching russian cinema at a time when the conflict committee was opening the doors that had been logged so i also joined the fight you know and discuss with the skin or at the time if i could sort of look into people into those clauses and what i found was rather was films. for sure is and then his first feature it was easy you know to get excited about. such a dynamical. movement because it really felt like

a movement. to understand you know the. this is the system that i created can also suppress those films but the passion for discovering new and new facets of russian cinema has not left me you did a lot to promote some names like live like. german juniors vegans and they do pretty well in venus and the festival but why don't make yours who who do well first of all european festivals they rarely had the big screen in europe afterwards and three depending on the different territories i mean italy is becoming as has become has been unfortunate transforming itself over the years in a country with absolutely no curiosity for anything non american an italian when

with when you come to film it's really like that i mean and in a way it's very difficult run a successful operation in venice when you're distributors do not buy any of the films they will discover in venice they mostly by films on script and cast those will be obviously either american films of very big european films. but i've sung for instance i mean although you didn't get sold to italy or spain i was sold to other territories it's going to open in the u.k. in the next few months but we know about the success of the film in france i mean. france is still. staying as the example you know the only one i think. is more french and italian it is more relevant that that prevents any kind of disability from from from finally offering our audience also a taste of the film i mean we love italian food but we don't dislike french

cuisine anyway. and a glass of champagne on top but obviously i mean the problem there is that you know in paris is still like the permanent cinematic where you can see at the same time almost everything the classics and a huge variety of foreign films and that's from proof if that happens in the in the big cosmopolitan metropolis that could really happen everywhere at least in the big cities of europe in one of the interviews you said that i called the two films which in pronounced me most in my youth were made in the u.s.s.r. these were the films by alexander to show what exactly did in first year but that. was not my you that was my childhood chance. because. i think the first big emotion i receive from

a film are not talking about cartoons because i not only the very things that i was not i mean and the film that i saw the very first film that really struck me as. the created the for me the impact of cinema as a new kind of magic was an idiot would have made it so i don't know if if if you remember that film you know it is sklansky film. for the whole film but look at ballad like a russian bear but it was really it was more spectacular and very different from anything i had seen so far so in that sense and obviously i mean that. i started it's strange because i mean i did have sex i took known to of the name of this director and i wanted to see other films from him. you said that have the next coming first of all the whole ministry going to show the latest works by by german

juniors of vacuous of that as far as i know this movies i don't finish here have you seen them none are bothering me i never said that i said of course we've done with certainly do hold if they are finished well i mean we'll get one good year is writing a script so. really i'm sad i don't think his father has been working on a major film since many years and obviously i mean we've been courting him ever since i mean i would we go way back we've known each other for thirty years so if i have to wait one moment one more year it will be fine and still i will keep pursuing because i'm sure that his new film will be something that sectional and well my relation with with is a very special one because i've been also his. co-financing co-producer and then eventually producer so are we we have worked together we have walked together for almost thirty years now marco. things are starting to happen in

russian filmmaking well. there were years like ten years ago when nothing happened now films films are being produced something interesting in seventy one but most of the russian cinema there was say no soviet films were better that cinema was better than today so too many remakes too many commercial films too many hollywood approach to stuff and so on but still you are you are offering russians young russians to take part in your program called the r. is on see their rise and yes so there's that mean there you and people in europe believe that future still the largest part of the future belongs to russian filmmakers. russian artists russian visual artists everybody who's been experimenting in the field of visual culture and that started you know what it's not by chance that even in one of the most difficult economical

periods for for russia in the early twenty's you know your arm and god was totally in sync with the our vanguard of the rest of the world so what is happening now is . the economical situation is it's really different is obviously there a lot of your artists are moving already beyond what we call cinema although in a way. they still create something that. could use that name but is in fact ups or being all kinds of new images and in that cell cinema could out live you know all four and so be they were everything which which is poured on us from from the. there is a big old even smaller and smaller screens that punctuate our daily lives year here you hate small screen study i know and i mean i think i have a problem with that i mean i think i know i could never be young again because i

could never watch a film on an i phone yeah i heard yesterday that first phone company has made a phone that may shoot three d. i mean and you can watch three d. without glasses this is crazy i think i think this is just by you know i mean and you know very often people. are. prone to the idea that that is something special i mean in berlin they gave awards to a short film made with an icon thank you thank you very much don marco and just sort of mind that my guest today was marco miller director of the venice film festival what about with more first time coming from what's going on in and outside the shop and so then they are to take it.

home. from. home.