it was a spur of the moment decision usually we spend a lot of time working in films. we're right we come up with stories many of our stories end up in the desk drawer and years later we come back to them. but this time our friend called us out of the blue and suggested why don't you visit this next from security prison. where the inmates searing very long sometimes even life sentences say shakespeare dental. shit. we didn't really want to go we had some doubts about the trip we were busy with other stuff but finally we decided to visit this president. and we were absolutely shocked by what we saw. we saw prisoners redone t. be shakespeare on stage. and many of them did it in their regional dialect

napoleon for example. many of the inmates serving long sentences come from the south of italy because of its unfortunate miffy history. spear with passion in their seven dialect made the acting even more intense. because of all that we really scared shakespeare for itself. it was a shock because we're very familiar with shakespeare but there we saw him in a completely new light. we know why don't we make a documentary about this. so we chose caesar. while working on the film we didn't know if it was going to be a documentary or a feature. we just wanted to communicate the emotion here you mentioned mafia julius caesar is all about power about betrayal about murder

does it have a particular appeal for people connected to maffia people that i have a specific attitude towards towards the violence. every. it is true. when we discuss shakespeare with the convicts some said william is our friend. many years ago five hundred years ago he told the story of us our tragedies our guilt of what we did. when we spoke about jago and other characters they found in familiar. then made these people in the horrible scary world they came from where they were lead character unfortunately. has told their story.

their acting was very passionate and they need the story real. to caesar he says i loved him but i killed him. when we showed this part up close my brother and i were touched because we knew the through the actor it was not just a scene in a play. he saw something from his past. lives of his friends who were around him. one british director said this is the original to shakespeare unique in comparison to any other staging of shakespeare. and a you said in one of your interviews i quoted that you were a little skeptical at first but the experience sharky to the core what was so shocking for you in the experience of working in the prison.

the most shocking thing was watching how the inmates staged these plays. and rounds of applause afterwords. then we went back to our life for freedom and they went to theirselves. doing something together and they were free for a while and then this freedom was over. we left and they went back to their cells. once we were walking down a prison corridor or there were give us a lot of freedom to move around and some cell windows were half open and we could see the convicts lying in their bunks. they get an hour outside but for the most part they just lie down in their cells. and one of them said. don't call us

prisoners. seeding watchers because that is what we do here we just watch the ceiling. we feel so sorry for them and hope for the christie. i wonder if you and your brother had to talk to the prisoners before you start to jump production maybe it was your producer who did that i mean discussing it so what i want to know is that was the what was the first reaction of the convict's to the whole idea of performing and filming it. with enthusiastic. yes they were and they love this they love this idea we had a lot of disputes with them in the beginning there is a theater director on the prison staff. and then who devoted his life to sieging shows with a convict his name is fabulous and he's

a very good director and so the in me will already used to before me and stage. and when they heard about us they looked us up on the internet to see who these two brothers or that are coming to their prison to teach them something. and when we talked to them so i am sorry they like i mean you and your brother was that important that they would like you personally. see. i remember exactly that's my point that's the answer we got. we selected candidates for their roles. and one of them said. i don't want to play activist because this is my friends. but we told him that his friend does not suit the role and it is up to us to decide because we're directors and we make decisions today has to be our way not anyone else's we said they can

advise us but that said in response that person said you'd better be careful because we're not ordinary people like your actors for instance. he wasn't threatening us he just said that we need to be conscious of the fact that we're dealing with a different kind of people yet different from those we deal with when shooting your films. then we said ok if you don't like it. so we left and we waited to hear what they decided we waited for three or four days and already started to worry because we were already all hyped up about the idea that we wanted to film it no matter what it takes we started staring at the ceiling ourselves and all we could think of was their reply and they called us back and s.s. to return and their leader the man who plays cassius in the film said ok we agree

to terms we should do what you tell us because we respect you because you have a gift and also because you look people in the eye when you talk to them on the path so so so you had to play by the prison rules by that time the war i mean yes you had to admit that. i mean relationships between people no no no no no we are also no i wouldn't say that it's all on the sick return i'm mostly impulse that we were making our film in the fold our directions in the film itself dictated the rules that i know the feeling itself was the law both for us in for them. not that they wouldn't have given us maximum freedom and the thing that inspired us most of all was that we could shoot a film inside the prison so for instance to portray brutus but he still wasn't emotions whether to kill or not to kill would put him into

a prison cell. other conspires in prison corridors it's about the power that comes from the place was filmed in because that place speaks to truth itself as we feel it. that's an innovation in film production and the public should appreciation for it to body building. up its up says filmmaker paolo time vianney spotlight who will be back shortly after the break so stay with us we'll continue this interview in less than a minute. wealthy british style. that's not on.

the. market why not. come to. find out what's really happening to the global economy with max keiser there are no holds barred look at the global financial headlines tune in to cause a report on our. the french invasion of russia has started again after two hundred years up at the. jet the emperor napoleon has arrived from overseas to lead the army i have to really take my time to prepare myself to get it right i know. the bloody battle near moscow is going to start over. james brown will reveal the victor the

soldiers are back to do it all again. but you know version twenty four hours on r.t. . on the money with the business of russia is this. peace soon which brightened if you move soon from phones to christians. whose phones don't totty don't come.

won't come to the place fish for swimming birds you can catch both of the premier mares like deviation show of the summer check out a whole family of russian engineering feats that let ships truly fly or just go with the flow and take in the view of the bay below but hold on there could be turbulence on board the plane it's only jet powered m.t.v.'s plane are set. to tell the love of the world's most colorful choppered and you've got a team ready to douse any flames technology and cheer on a launch we used on the future cover. there are those who desperately need it to survive. misspoken who is the to give money to. build an official. on the suppresses the prize the rights of the

poor for. those who don't get their share of the traits. good by god's. grace we know and don't last but not the one not us that people need to know about it i mean not look at it from the company from. those who suck it out to prosper. inside the cities. licensing. no one can live without it's in one of the largest banks in the world. loaded night you're. on our team. my parents really truly honestly believe that what had happened was as

a result of my father's exposure to agent orange i was born with multiple problems . i was missing my leg and my fingers and my big toe on my right foot i use my hands a lot in my artwork i find myself drawing my hands quite a bit to me for my hands you know just as if anyone would. but they do tell a story they tell us story of. oxen. welcome

back to spotlight i'm we're now than just a reminder that my guest on the show today is italian a filmmaker of powell time vianney. city of t.v. and he would have made a statement about how art can transform anyone's life even those imprisoned for life what was the effect of the play of the film the con convicts was the life really transformed after they worked with you in the movie.

i think they were deeply moved by the film one of them said that he could hardly recognize himself. we think it was a very positive and in lightning experience for the prisoners in this place to see the public welcome there. people have no see in the film and will not forget about these prisoners. they will come away with the thought that inmates are human beings too just as anybody else even though they've been convicted of horrible crimes. the prisoners are aware of the change in perception to. how would you describe the genre of the of this movie is it a feature film is it a documentary or a drama based on a true life story how to describe it or is it in between somewhere and in.

the. dog i would see is the kind of film which neither me nor vittorio are able to classify. during the production process we would often ask each other is it a documentary a drama or a theatrical performance. and we were basically guided her feelings without trying to mold it into any given narrative form. it does have some kind of narrative but not in the traditional way so it's really hard for me to classify the film. one thing i'm sure of is that the film was so successful in eataly because people there were able to classify it because. people were astonished. boasting that's what people told me they had the impression that the film was made by a young director. it is true to a certain extent we're both in our eighty's no it was when we started the shooting

the way the process that we often told each other we're playing with the camera just as we did when we were young ensured our first film. we felt as if we didn't have any restraints we felt like novices like the first time when we embraced cinema and it was this spirit that helped us to produce the extraordinary work that i cannot fit into any category most of the film. why did you film it on black and white film or was it made a later in post-production. haha go all we need the black and white for two reasons. one is very simple. the beginning is in color and then six months back we wanted the audience to know that this flashback is just collections and that it all happened in the past. it

also. is very naturalistic. what we see around us and what we see on television is only in color. point originally films used to be black and white but not any longer. we didn't want to make a naturalistic film we didn't want the events in the prison to look naturalistic it was not supposed to be an ordinary documentary where they would show you the environment in great detail in color the cells the bar doors. instead we wanted to show the absurdity of the prison of the fact that the pure form in a shakespeare's play so well it was also due to the black and white form it director of photography insisted on he wanted the contrast to be very intense because hugh and your brother belong to the older generation of filmmakers many people may think that this black and white production is actually a tribute to. the. see

seba. video. i wouldn't call it a tribute we come from new realism i would say we started black and white but then we shifted to color productions the only black and white film that springs to mind is the first one we did together with my brother it was called and then for burning . we don't have any sources of inspiration for this but wait to be truly honest there was one when we were young we truly loved cinema including real estate and so did films like those made by siri eisenstein or several of. ophelia. no. different you see for us me and then two new me were almost contemporary directors we had a thing with a great russian cinema there which other journalist if you will she will acquit we

started shooting this film it felt as if we were young against the black and white film rekindle the old flame the passion we had for the great black and white cinema by say dryer or eisenstein the state in this respect our film was indeed inspired by the old cinema but only as a flashback of our younger days. it was only through black and white that we could tell this particular story. because. it was a story. you and your brother both used to be journalists. i would suppose a lot like i am so i would suppose that that when you doing something like this like this movie there's some sort of a message you want to convey to the public what was the d.c. compassion. what.

to say it is the postman who brings the message. don't try to convey messages but indeed there is this is a message for us personally. i have been doing that my whole life you know. i. would like audiences in worldwide to find out what that people who committed murders in the end state human. war. and their own possible to rectify. over the years in prison some of them have changed in one should help them in their study to rebuild me. here is a healing session for them too in their feelings to the genius of shakespeare. and

shakespeare has helped these people more than anyone else has. therefore our message consists of compassion empathy and respect for them. you see in one of your interviews i quote making films is about discovering something that's never been seen before and that's the way your words however you often mufon make films based on shakespeare tolstoy it's what we turn. again and again to the classics if you think that your work is about discovering something new. boss the story in today's leaving for us there pollyanna to see the place where leo tolstoy wrote his great works some of which i keep in my bedside in particular were in piece.

so i'm referring to this because tolstoy been dello and other classical writers have been a source of inspiration for us. but we've never tried to make adaptations of their works. my not there when my every time these writers can read it feeling that reasoning it it was what we were trying to get across we used their works is moot ifs in our films and we used their stories to present our own vision like there was an article machina just already on the subject who would say i think you told story think you better in the low end good but for now you have been of tremendous help to these militia in cinema or to different languages if you don't. know it's time. to speak their own language we. will have great writers but we always betray them in our films most of the city are there any more cigarettes to school to give us or

act hours just to remind you that my guest today was italian filmmaker powell t.v. acting and that's it for now from all of us here if you want to have your say on fog live or after someone in mind do you think i sincerely next time just drop me a line of al gore and i pad out into our lives and let's keep spotlight interactive movie back with more friends don't comment on what's going on in and outside russia until then stay on our take and take thank you guys it is upset if there's ever. on the money with the business of russia is.

in. there are those who desperately need it to survive long to spoil kong is a town give money to on the lookout. for gold in the fish. and the suppresses the prize the rights or the fruits of first new clothes and. those who don't get their share of the traits. good by downloading god's. place i mean old dos but not the one not us that people media buy to know about it i mean not look at it it from the company from moby. and those who suck it out to prosper. inside the cities and say. from you not

from. some. nice licensed. no one can live without it's in one of the largest blood banks in the world. blood of nigeria. on our team. courageous and creative. elegant and full and those public speaking. come from. a few european bodybuilders against millions of which immigrants. this may not seem so serious now. but this could be a real fright tomorrow. european extremists.

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line. would be so much brighter if you knew about songs from fans to freshen and see. who screams stunts on t.v. don't come. up all.