vittorio have shot about twenty movies so far then. hollywood filmmakers are among the most influential directors in europe they won the cannes film festival prize in one hundred seventy seven and the grand prix. in nine hundred eighty two. but. welcome to the show. thank you very much for being with us well first of all i would like to ask you how was the idea of the caesar. how did you come up with it. it was a spur of the moment decision usually we spend a lot of time working in films. we write 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 some security prison. where the inmates searing very long sentence even life sentences say shakespeare then take. shape. 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 to be shakesp

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 t

must die a documentary drama played by the inmates of a high security prison the career of poland vittorioyani began over half a century ago they used to be journalists but switched to filmmaking and directed their first short film in nine hundred fifty four since then the brothers have always worked together each turn it seems tauriel have shot about twenty movies so far while that might be less than some frontline hollywood filmmakers. among the most influential directors in europe they won the cannes film festival top prize in one hundred seventy seven and the cannes jury grand prix in nine hundred eighty two . welcome to the show. thank you very much for being with us well first of all i would like to ask you how was the idea of this season. how did you come up with it.

they think that their insistence on vittorio whatever resolution where or not in syria and syria and is a projection of a superpower this is. not that correct in some sense it is. bad responsibility of the security council you advocate for u.n. intervention like the civilians in any country so you advocate a u.n. peacekeeping force in syria and when i say support. peacekeeping force of course right if that is if you have a cease fire. and i think peacekeeping and peacemaking and i think that the arab states and especially the ruler. who has a. ok to have another. force for. peacekeeping it is important that the arab league takes the initiative in rebuilding. the country of syria. but this is a pretty good job so you know of the restore the caprices we. hope that it doesn't turn into another piece by force thank you so much for coming on and giving us your perspective. you guys may remember a video that circulated last summer of a woman who stood in her front yard and filmed officers making an arrest with her smartphone take a look at how it went down. going to be something i'm just t