you're watching r t a live from moscow our top stories nato says it will continue its presence in libya as long as it needs to despite also say for example regime is announcing on the top. with the revolutionary sentiments growing valley in syria fears are mounting the political crisis may be spiraling into a religious war. and palestinian alert is relative times forces reportedly from paris for an op rising handing out of gas and stun grenades to some players as the u.n. vote for palestinian statehood approaches. up next our interview shows spotlight al

gore know of talks the director of the venice film festival and marco morning already about innovations from a tie in filmmakers which i used to try out for others worldwide. plan. to. bring you the latest in science technology from the ground. we've got the future covered. hello yellow welcome to spotlight the information on our team and al green our bell today my guest is mark old news. to tell you the phone makers are among those who many times revolutionized cinema they often brought innovations that became

examples for their colleagues worldwide their names like the lady bertolucci and and today only are synonymous with prieta absolutes where is the italian movies to now and well to answer this question is one of the biggest names in european cinematography director of the venice film festival marcello. russian and italian cinema as much in common with a deeply psychological talent will make theirs as well as russians have always been interested in dramatic events and tragedies. but creative approach always forms of self-expression of the reality is both russian and italian moviemaking is seen better days or has it. leave. home market to show it sets a big problem to have in the studio thanks to the pressure thanks there thank you

for coming in well first of all congratulations on this mini fellow festival that challenging in parts of the telly here and we'll well we've already sold out years ago this event and it's really really something for russians to see challenge films and. extreme yet. i want to ask you a question straight away don't you think that today russians see less italian films on big screen then they used to in serbia times when they were watching through the iron curtain they will watch only in films is that why well that's probably the case with russia and france and italy i mean when we facing a situation where i mean our screens are occupied by american films they have very strong strategies to monthly in that application i mean i think. even in russia for your national films never goes beyond twenty percent of of the screen space so.

it is really distributors that want only money and they don't care about 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 and in the different groups of us if they'd done 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 is largely out of the norm i'm talking a lot about american films well some say that tell you in russian cinema or are facing similar problems in trying to resist this hollywood expansion they explain the problems with the 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 of 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 d m. you can attack and that is. a 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 new comedy by a very well known television stand in comedian kick up the lonely who finally broke five million people. to the movie theaters and with you know video piracy. and all the other phenomena that are reducing you know the coin men's with real films on the 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 comedies and very often why had. injuries come it is. or so they look at least and but what is what has changed is that still what we have called the over there is little incident is still alive and the film we have chosen for opening this mini cycle in moscow the solitude of prime numbers less of the enemy dreaming 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 if they do this movie you just started choking. they normally

premia the solitude of primitive numbers it really was the heads into really had the box office in italy those that mean that the views that ordinary people that they actually want to see serious movies what we call quality movies and the directors just don't deliver why because there's no money to they want fast money they don't think there's no more anthony only isn't there to lucia's i don't believe that well i mean there are still i mean with costanza is a good example and you know on the other side we have somebody like roberto. i'm sure that. if she was a russian filmmaker she would be called an extremist. skandalis but also because of that i mean she managed to create a pension for a film in italy she should be called. in italy she has been called a lot of names and i thought that allister 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 comedy is about mafia schmidt musical comedy is actually about mafia. musical comedy is about illegal immigration and prostitution so that a wave of political correctness and everybody wanted to smash the director who had you know to tackle such serious subject matter and with such a light for you know what we should be she started doing that and then and then the hunger games camera but then. they followed in the 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 three you think the europeans should imitate the hollywood strategy 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 either 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 it in police are also i mean i think they should be a lot of support for an international a different it had national 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 italy it's it's a movement it's a 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 worst intellectual films to lose will you continue this trend or will you will you stick to trying to try to promote pioneering technologies pioneering approaches rather than commercial

production say the band and we program first we program the most are the various festival in an intellectual way we try to truths films with our belly and heart before we would do the old intellectual reasoning i mean i i think i would i would always. have doubts about films which did not an emotion and emotional response from my selection committee and our business over 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. a rock concert or a football match and we had quite a few of those in various last year you established a special prize in a village 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 theorical doc terrible you know so what's

new about the world why so much fuss about three d. i mean. obviously it's still three d. has come and gun many times only. 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 plying storytelling so they would. use treated in a different way that they can be a new forms of storytelling new approaches that can be realized through. a new visual mean that simply offers you a different landscape with visual landscape i mean i am quite excited because we just saw in one belin what both the inventors and then i had could

do with three d. cinema and in italy were very proud because but now the battleship 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 then obviously i mean you cannot even show lies later on you know and you cannot imagine a solution throwing objects as your face or you know using any of the very easy gimmicks that. three d. commercial movies are not in a where it's important if it was him or his producer of me it was his decision and i had lunch with then he thinks if he'll say says mark o'meara director of the venice film festival spotlight will be back shortly after break so we'll continue to stay married.

wealthy british scientists scientists sometimes the title. market finance come to. find out what's really happening to the global economy with much stronger for a no holds barred look at the global financial headlines tune into cars a report on our. morning news today violence is once again flared up the full these are the images

the world has been seeing from the streets of canada. china for asians or the day. welcome back to the spotlight algren love and just a reminder that my guest in the studio today is mr marko miller a director of the venice film festival market we started talking about three d. we start the better by russian movies well. there there are new pioneering technology technologies that were introduced in the soviet union. a long before they they started the they started taking over the world like three d. pad admittedly ology three sixty three sixty movies there's through is

a universal set up so there you go i go to that in. they often 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 to 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 a report by spotlights here and exhibit. this is the first some of your talk in picture wrote to life it was also the first one to give recognition in one thousand nine hundred eighty two new lives founded the nice film festival is about. pining outside of filmmaking and most priests have been highly realistic throughout the history of the festival three russian films you could start who weren't the golden lion the first big ones childhood by andrew who's 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 is tuned by the war with the nazis was the great masters first feature film the collapse of the u.s.s.r. in one nine hundred ninety one was celebrated in these but you were doing a golden lion to nikita me how coves close to eden a love story set in of us and then go in step. well these later andries dragons of the return snatched the coveted trophy at the first of all the dark and listen to 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 so we always are the first to go last you saw another triumph for the country cinematography will not exceed the dorchin because silence received a twelve minute standing ovation from a festival audience and although the best prize is to keep this awaiting story of

love 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 especially 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'm in a my relationship with. russia and see them as always been very passionate 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 locked so i

also joined the fight you know and discuss with. at the time if i could sort of look into peep into those locked doors and what i found was that there 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 movie and it took time to understand you know the. this is the system that 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 in ames like line like. figure.

german juniors vegans and then they do pretty well in venice and the festival but why don't make errors who would do well festivals european festivals they rarely had the big screen in europe afterwards it's really depending on the different territories i mean italy has become a name as has become has been unfortunate transforming itself over the years in a country with absolutely no curiosity for anything non american on italian when we're when we come to film it it's really like that i mean and in a way it's very difficult run a successful operation and then is when you're distributors do not buy any of the films they will discover in venice they do mostly by films on script and cast but those would be obviously either american films or very big european films. that have sunk you for instance i mean. 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 ali i think. is more french and italian. it is more you know what i mean that that prevents any kind of the signal from from from finally offering our audience also a taste of the film and we would love italian food but we don't dislike french cuisine anyway. and a glass of champagne and heart 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 should prove 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 the two films which impressed me most in my youth were made in the us a son these were the photos by alexander to show what exactly did impress you that that was not my you that was my child child. because. i think the first big emotion i receive from the film i'm not talking about cartoons because i'm not going to be very close now i mean and the film that i saw the very first film that really struck me as. that created the it for me the impact of cinema as a new kind of magic was an idiom wilmot's i don't know if i if if you remember that film it is a skyscraper film. yeah i'll film but i 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 of six i took 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 the minutes you're going to show the latest works by my german juniors would have got as far as i know this movie here how do you mean that none of that i mean we i never said that i said of course we don't with certainly do hold if they are finished well i mean we'll get my junior is writing a script so my life is a result rather things large 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 i would we go way back we've known each other for thirty years so if i

have to wait one on 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's optional 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 worked 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 or films are being produced something interesting is serving but most of the russian cinema there was say no soviet films were better that cinema was very well today so too many remakes too many commercial films too many how he would approach the stuff and so on but still you are are you are offering russians young

russians to take part in your program of the army's auntie that arises yes and there's that means there you and people in europe believe that future still belongs to a part of the future belongs to russia filmmakers in russian art is 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 are one god was totally insane with the other god of the rest of the world so what is happening now is. the economical situation is it's really different is obviously that a lot of your artists are moving already beyond what we call cinema old bull in a way. they still create something that. could

use that name but is in fact ups or being all kinds of new images something that sell cinema could i would live you know of all forms of video editing which which is poured on us from from the. there is big or even smaller and smaller screens that punctuate our daily life year here year hate school school history 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 a trillion there 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 i phone thank you thank you very much don marco and just a reminder that my guest today was a lot of cold miller director of the venice film festival one of act with more first time calling from monster going on in an outside shot until then they are to take it.

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