i think in the world. uses of self-sacrifice and heroism of those who understand it fully but you have to live a. real life stories from world needs to. be true nineteen forty five dollars r.t. dot com. with the locker must go it's now a five thirty pm mr a reminder of top stories americans cheer as the government announced osama bin laden's death but many are now questioning how it happened and why there's been an evidence blackout conflicting reports from the u.s. officials on the refusal to release images of the body giving rise to conspiracy theories. pakistan is on high alert as fears grow through the peacetime instability it's struggling to achieve will go up in smoke after the killing of al qaeda leader

locals playing americans and their war on terror fuelling uncertainty on the ground and worldwide. that there's some nato countries to seek ways to help the libyan opposition others accuse the coalition of starting the unrest to prevent gadhafi creating a new rival international currency the obama administration is planning to release frozen khadafi assets to support the rebels and providing humanitarian aid. and a more stories more on those stories in about thirty minutes time here on c but now i'll go on all fours to the director of the venice film festival to discuss the unique relationship between russian and italian filmmaking that's in our interview program spotlight coming up no one outside. hello yellow welcome to spotlight the international arts and i'm al green are

better today my guest is mark. italian filmmakers are among those who many times revolutionized cinema they often brought innovations that became examples for their colleagues worldwide their names like the leading bertolucci and and are synonymous with creative acts so where is the tally in movies to now. well to answer this question is one of the biggest names in european cinematography director of the venice film festival marco. and italian cinema but much in common with a deeply psychological. filmmakers as well as russians have always been interested in dramatic events and tragedies. their creative approach always forms of self-expression but the reality is both russian and italian taking a scene that's at least or has it.

sensibly privileged to have in the studio thanks so much for the thanks they have thank you for coming well first of all congratulations on this mini film festival the challenging parts of the tele near and it will we will be here is about this event and it's really really something for russians to see telling from is a big screen yet. i want to ask you a question straight away don't you think that today russians see less italian films on screen then they used to in serbia time. well when they're watching through the iron curtain they will watch only in films is that true why well that's probably the case with russian france and italy a minute. we facing a situation where i mean our screens are queue tied by american films they have

very strong strategies to maintain their occupation and i think. even in russia for your national films it never goes beyond twenty percent of of the screen space so. it is really the distributors that want only money and they don't care if 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 viewers that what we call audience i mean the different groups of viewers if they don't keep being stimulated. you have to stimulate the hunger and 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 internally and in russian cinema or are facing similar problems in

trying to resist this hollywood expansion they explain the 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 they the producers and specially the big production groups they have devised a system to counter. the american attack and that is of very somehow very schematic very simple comedy studio audience and that's how we finally reverse the situation. i mean. we had one comedy. the new comedy by a very well known television stand in comedian tackled the lonely who finally broke 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 there's always something but you know that that was always the case i mean twenty twenty twenty thirty years ago we also had box office seats and most of them were comedies and very often quite. ingenious come it is. also they looked at least and but what is what has changed is that still what we have called over the years helen cinema is still alive and the thing we have chosen for opening this mini cycle in moscow to sell it to the prime numbers less a little in many primi is actually. the best known comedy drama hit. 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 so if they do this movie you just started choking. saluki the new mini pinny yeah the solitude of primitive numbers it really was ahead it really had the box office in italy those that mean that the views of ordinary people that we actually want to see serious movies what we call quality movies and the directors just don't deliver what because they were money too they want fast money they don't think there's no more antonioni isn't good solutions i don't believe that well i mean there are still i mean with co-sponsors 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 attention for a film in italy she should be called called when east. in italy she has been called a lot of name and i thought i'll use that 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 nothing she made musical comedies actually about mafia. musical comedies about illegal immigration and prosecution so that a wave of political correctness and everybody wanted to smash the director who had to tackle such such serious subject matter and with such a light for you know what was she she started doing that and then and then the

hunger games camera but then. they followed in their first steps and i talk about political correctness you were talking 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 no 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 fellini i mean phillida was definitely one of the straightest man for. made in italy you know everything made in italy became. interesting also because he would see it in a police film so i mean i think this should be a lot of support for an international a different international impact of our films and your films because in return you create a lot of visibility and a lot of a lot of awareness for a situation that luckily good in russia in italy it's it's a movement it's a concept transformation well you run an operation in the health system of the venice film festival which is considered to be one of the worst intellectual field

so those will be continued this trend will you will you stick to trying to try to promote pioneering technologies pioneering approaches rather than commercial production i would say that ben and we program first we program the most are the various festival in an intellectual way we try to truth films with our belly and hard before we would do the old intellectual rate reasoning i mean i i think i will always. have doubts about films which denotes to an emotion an emotional response from my selection committee and obviously also for myself so i will be wary of those films and will try to emphasize films that at least you know can or should create the climate of. a rock concert on or a football match and we had quite a few of those in various last year you established

a special prize in venice for three d. films is what's nice about three d. when i was a little kid three d. films was shown in downtown moscow in the theater called october you know so what's new about them what why so much fuss about that i mean. obviously it's still you know three d. has come and gun many times only. quatro forestieri of those here or there became quadro then they quit 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 can be new forms of storytelling new approaches that could be realized to. the new visual mean that simply offers you

a different landscape with different visual landscapes i mean i am quite excited because we just saw in berlin what both the inventors and then had to do with three d. cinema and in italy we're very proud because but now the bertolucci just announced last week that he will be doing his for a street in movie it will be shot in three d. at shot in three d. and obviously i mean you cannot even show lies later on you know and you cannot imagine what pollution throwing objects at your face or you know using any of the very easy gimmicks that. three d. commercial movies are no good where it's a project it was him or his producer of me it was it was his decision and i had lunch with then he thinks if he'll say more director of the venice film festival spotlight will be back shortly after

a break so we'll continue doing. british . market. can. find out what's really happening to the global economy with. no holds barred the global financial headlines. the mission and free credit case should be free. for charges free. agent three risk free. free.

the old free blog video for your media project a free media. for the full story we've got. the biggest issues get a human voice face to face with the news. welcome back to the spotlight our very large and just a reminder that my guest in the studio today is mr marco reader director of the venice film festival marco we started talking about three d. we started bit about russian movies well. there there are pioneering technology trilogies that were introduced in the soviet union. long before

they they started this they started taking over the world like three d. pad technology three sixty three sixty movies there that's true is that you remember that absolutely no you know i go to get 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 he allegedly. this is the first sort of you're talking picture wrote the life it was also the first man to get recognition in one thousand suited to a new live founded the nice film festival is about children finding out some filmmaking. most priests have been highly realistic throughout the history of the

first of all three russian films you could start who weren't the golden lion the first ones childhood by andrew who's recognized as one of the finest filmmakers of the twentieth century this nineteen sixty two story of a twelve year old boy whose life this one by the war with the nazis was the great masters first feature film the collapse of the u.s.s.r. in one thousand nine hundred ninety one was celebrated in vinnie's but the word in a golden lion to nikita me hope proves close to eden know of stories set in the past month in step. twelve years later andries dragon suits the return snatched the coveted trophy at the first of all the dark and this is parable of a father son relationship one the hearts of the jury on top of the success there have been a number of other russian movies to win or lose at the festival last year another triumph for the country cinematography when alex

a fit dorchin because silence received a twelve minute standing ovation from a festival audience and although the best prize escaped this awaiting story of lot and the film reminded three you 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've been a my relationship with. russian cinema is 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 saga 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 locked doors and what i found was that there was films. the reaction. of shores and then his first feature it was easy you know to get excited about. such a dynamic all. movement because it really felt like moving. on to understand you know that. this is the system that i've created and 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 names like light like fortune or german juniors very concerned and they do pretty well in venice and the festival but why don't make errors who who do well first european festivals they rarely have the big screen in europe afterwards it's 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 and italian when when when we come to films it 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 but

those will be obviously either american films or very big european films. but of so young play for instance i mean although it didn't get sold to italy or spain was sold to other territories it's going to open in the u.k. in the next few months but we know that 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 general but i mean that prevents any kind of the secular from from from finally offering our audience also a taste of the film i mean we love italian food but we've done this like 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

a 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 approved if that happens in a in a big because not only the metropolis that could really happen everywhere at least in the big cities of europe in one of the interviews you said that the two films which in pranced me most in my youth were made in the us a son these were the films by alexander to show what exactly did in first year that 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 was not i mean and the film that i saw the very first film that really struck me as. that created the for me the impact of cinema as

a new kind of magic was an idiot would omit so i don't know if if if you remember that film it is discussed the film. yeah i'll film but i look at ballard 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 of six i took no note of the name of this director and i wanted to see other films from him. you said that the next coming first of all holding venice even to show the latest works by by german juniors. have but as far as i know this movies are not finished yet have you seen them none of that i mean we i never said that i said of course we've done with certainly do hold. well i mean. good hundred year is writing a script so now that it's a reality i don't think his father as been working on

a major film since many years and obviously i mean we've been courting him ever since i mean 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 etc 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. 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 certain in but most of the russian cinema there was say no soviet films were better that cinema was better

than today's are too many remakes too many commercial films too many how you would approach the stuff and so what but still you are are you are offering russians young russians to take part in your program the audi's aunty that arises yes and there is no i mean there you and people in europe believe that future still belongs to a 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 are long gone was totally in sync with the our vanguard of the rest of the world so what is happening now is. the economical situation is fairly different because obviously

there are 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 i mean that sell cinema could out live you know all of the all phones or video i have it in which which is poured on us from from the. there is big or even smaller and smaller screens that punctuate our daily lives year here you hate small screen story and i know i will i mean i have a problem with what i said i mean i said i know i could never be young again because i could never match a film on an i phone yeah i heard yesterday that a firm 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

then you very often people. fall prone to the idea that that is something special and believe they gave an award to a short film made with an i pod thank you thank you very much don marco and just sort of mind that my guest today was remarkable mr director of the venice film festival photographed with more for us than coming from going on in and outside the show until then they are to take it.

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