revolting videos for your media. really old guard t.v. dot com. this is on see which of the headlines at half past the hour. members of monaco doctors found lee have reportedly been accepted into algerian red herring rounds in the new congress they've been rebels say they'll see the return of the colonel's two sons and wife and daughter and bring them to justice. also violence in syria claims more victims would answer it's reporting at least six people were killed and dozens wounded by security forces during raids against protesters perhaps as fears grow political unrest could lead to religious clashes in the traditionally multi-faith society. on you as

a recovery in the trunk of the u. parliament's economic committee a great the pace of growth isn't weak due to global market turbulence and that's why the son's over the greek bailouts continue with some countries doubting athens can pay beyond the emotive bilinear deb's. at nights of. talks to the direct so the bennettsville passed about marco mueller about innovations from italian film makers wish blazed the trail for others worldwide.

hello yellow welcome to spotlight the interview show. i am al green are better today my guest is mark old news or. italian film makers are among those who many times revolutionized cinema they often brought in the base but came examples for their colleagues world like their names like the leading bertolucci and antonioni power synonymous with creative exits where is the italian movies to now and dad well to also this question is one of the biggest names in european cinematography director of the venice film festival to mark felt. russian and italian cinema as much in common both are deeply psychological challenge you make yours as well as russians have always been interested in dramatically bands and tragedy has. some creative approach always. comes of self-expression but the reality is both russian and italian making the same

better days or has it. own mark on the show it sets a big privilege to have you in the studio thanks to the pleasure thanks they have thank you for coming well first of all congratulations on this many film festival that challenging in parts of the telly and here and you will love it we've already sold out years ago this event and then it's really really something for russians to see sally from some. 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 then they used to in serbia times where when they were watching through the iron curtain they will watch only in films there's no one but that's probably the case with russian fans in italy i mean. we are

facing a situation where i mean our screens are cute pied by american films they have very strong strategies to maintain their contagion i mean 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 about thing 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 the libyans 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 italian and russian similar are facing similar

problems in trying to resist this hollywood expansion they explain their problems with russian cinema they say it's lack of money lack of financing problems with the with the economics of film making in italy isn't 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. well you can attack and that is. very somehow very schematic very simple comedy studio audience and that's how we finally rivers' the situation i mean. we had one comedy the the new comedy by a very well known television stand in comedian k. called the lonely who finally drove five million people. to the movie theaters

and with you know video piracy. and all the other phenomena that are reducing you know the the appointments with real films on a big screen that's a story 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 comedies and very often white. in jerry's comment is. also they looked at least and but what is what has changed is that still what we have called over the needle and cinema is still alive and the film we have chosen for opening this municipal in moscow the solitude of prime numbers lazily today normally dreamy 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 five hundred maybe close to six hundred thousand viewers if they do this movie you just started charting. the new mini premier of the solitude of primitive numbers it really was the head it really had the dark sophos in italy those that mean that the you ordinary people that they actually want to see serious movies what we call quality movies i did directors just don't deliver why 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 will and there are still i mean co-sponsor 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 communist. in italy she has been called a lot of lay 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 black hole with the form that is supposed to be you know the perfect form to create consensus. comedy so she made comedies about mafia she made musical comedies actually about nothing she made musical comedy is about illegal immigration and prostitution so that released a wave of political correctness and everybody wanted to smash the director who had you know to tackle such serious subject matter. with such

a light for you or what was she she started doing that and then and then the hunger games camera i didn't. know about it they followed in their footsteps i took their political correctness you were darting 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 that 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 phillida was definitely one of the speakers manful. made in italy you know everything made in italy became. interesting also because you would see it in police films 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 good in russia and in italy it's it's a movement it's a constant transformation well you run an operation i mean the film festival at the

venice film festival which is considered to be one of the worst intellectual tools would you continue this trend will you will you stick to trying to try to promote pioneering technologies pioneering approaches rather than commercial production say that van and we program first we program the most rather than his first rule in an intellectual way with writing trues films with our belly and heart before we would do the old intellectual very reasoning i mean i i think i would i would always. have doubts about films which denounced an emotion an emotional response from my selection committee and obviously also for myself so i would be wary of those films and i would try to emphasize films that at least you know can or should create the climate all the. other rock concert or a football that 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 loop kid three d. films were shown in downtown moscow in the theater cold october you know so what's new to the world why so much fuss about that i mean. obviously it's still three d. has come and gone many times some really. quatro forestieri others here it 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 flying storytelling so they would use three d. in a different way that they can be new forms of storytelling new approaches that could

be realized through. a new visual mean that simply offers you a different landscape with different visual landscape i mean i 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 but now global pollution just announced last week that he will be doing his for a street in only. shot in three d. and shot in three d. and obviously i mean you cannot if you're wise later you know and you cannot imagine a solution throwing objects at your face or you know using any of the very easy gimmicks that. really commercial movies and all of the neighborhood it's important if it was him or his producer of me this is i was it was his decision and i had lunch with venice he thinks if he'll say says marco miller director of the venice

film festival spotlight will be back shortly after break so we'll continue to stay playing. an. enemy. mother limits to fix it least six a pixel

six. weeks i am a. six six six six six. six six. six . welcome back to spotlight algren love and just reminding of my guest in the studio today is mr marko director of the venice film festival marco we started talking about three d. we talked a bit about russian movies well. there there are pioneering technology technology

that were introduced in the soviet union. long before they did that they started this they started taking over the world like three d. like pattern rabbit technology three sixty three sixty movies there through is if you remember that absolutely no you i go to get in very often to try and see as many multi-screen films as possible and i'm sure that there is bound to come to our part of the world through russian films actually are regularly featured at the villainous fell fast through and they often are highly regarded let's take a look at some of the winners in the record by spotlights healy and exactly that. this is the first sort of you're talking picture who wrote the life it was also the first man to get recognition at the nineteen studio to new lives founded the nice film festival. about homeless children but finding out some of the megan.

was priest had been highly realistic throughout the history of the first of all three russian films two could start who weren't the golden lion the first one child who. school whose recognized as one of the finest filmmakers of the twentieth century this nine hundred sixty two story of a twelve year old boy whose life was to win 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 these but the word in a golden lion to nikita me how coves close to eden oh of stories set in a vast one go in step. well these later hundreds of dragon serves the return snatched the coveted trophy and the first of all the dark and this is a comparable of a father son relationship one the hearts of the curie on top of his success there have been a number of other russian movies too we all are the first to go last year another

triumph for the country cinematography when alex if the door which includes silence received a twelve minute standing ovation from a festival audience and although the best film prize escape is a way to extort a lot and the film in mind it's 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 a special attachment to russian culture or or 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. russian cinemas always been very passionate one but it it was easy because 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 locked so i also joined the fight you know and discuss with your skin or at the time if i could sort of look into people into those locked doors and what i found was what i thought was films. first choice and then his first feature it was easy you know to get excited about. such a dynamic zero. movement because it really felt like a movement. to understand you know the. this is the system that i created could 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. german juniors very concerned and they and they do pretty well in venus and the festival but why don't film makers who who do well first of all european festivals they rarely have the big screen in europe afterwards it's really depending on the different territories i mean italy is becoming has has become has been unfortunate transforming itself over the years in a country with absolutely no curiosity for anything non american not entirely and when with it when we come to films 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 do mostly by films on script and past but

those would be obviously either american films of very big european films. but of so young for instance i mean i'll go you 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 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 than you know but i doubt that prevents any kind of a signal from from from finally offering our audience also a taste of the film and we love italian food glad 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 prove if that happens in a in a 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 impress you but that was not my you that was my child. because. i think the first big commotion i received from the film are not talking about cartoons because i not only fairytales did not 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 indian movement so i don't know if i if if you remember that film it is discussed the film. yeah i'll film but i like a 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 didn't have six i took note of the name of this director and i wanted to see other films from him. you said that the next and the coming first of all hold in venice even to show the latest works by by german juniors. can serve but as far as i know this movies i don't finish yet have you seen them none about i mean we i never said that i said of course we don't we certainly do hold if they are finished well i mean we'll get around to here is

writing a script so this is a reality 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 that we've known each other for thirty years so if i have to wait one moment one more year it will be fine 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 world 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 serving but most of the

russian cinema there was saying no soviet films were better that cinema was better than today's are too many remakes too many commercial films too many how we would approach the stuff and so on but still you are you are offering russians young russians to take part in your program called the artes aunty that arises yes lots of those 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 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 armed guard was totally in sync with the r.

vanguard of the rest of the world so what is happening now is the economical situation is fairly different is obviously there are a lot of your artists are moving already beyond what we called cinema although in a way. they still create something that. could use that name but is in fact up sorting all kinds of new images and in that cell cinema could out live you know all of the all four and so video everything which which is poured on us from from the various big or even smaller and smaller screens that punctuate our daily lives. you're here you hates world's history and i mean i have a problem with that and i said i know i could never be young again because i could never watch a film on an i phone yeah i heard yesterday that it really am the 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 then you know very often people. fall prone to the idea that that is something special i mean in berlin they gave an award to a short film made with an eyeful thank you thank you very much don marco and just to remind them that my guest today was marco miller director of the venice film festival what about with more first time calling from what's going on in and outside the shop until then stay and party take it. for the full story we've got it for. the biggest issues get a human voice face to face with the news makers.

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