Dellamorte Dellamore is a film directed by Michele Soavi,
Dario Argento collaborator and director of successful films
such as The Church and The Sect.
With his talent and visionary knowledge of the horror genre,
Soavi seems to be the only heir to Italian, Dario Argento.
According to critics, Soavi has a very personal style now, and
hopefully that will be used in other film genres.
And the story of the impossibility of this character
to leave his world, from the world of the province
from the world of trivia, the wretchedness of life.
Stop.
Good.
The question that arises throughout the film is the same:
Are we sure that the world of the dead is so ugly
compared to that of the living?
Worth the trouble of snapping at one another in traffic jams?
Or forced in the queue at traffic lights?
It is worth rushing, angry for work
or if anything goes wrong?
We will not be by chance already dead?
We will not be the zombies now devoid of sensitivity,
moved only by a generic material will?
He's like all people are nowadays, sort of dead...
kind of like Romero I think.
Another story could be someone who works in a bank, or could be...
anybody with a very dreary life with no past, no future...
but still holding onto a sort of romantic melancholia.
It would be nice to have the idea from the explosion of light.
We should close here in a dark shot,
and then when he breaks through, there is the light.
It was with the head near the handlebar to the end,
In fact, I banged my face against the handlebar!
The special effects of Dellamorte Dellamore
are taken care of by Sergio Stivaletti,
the most expert in Italy with optical and mechanical effects.
A regular employee of Soavi and Lamberto Bava,
Stivaletti also worked on all the films of Dario Argento.
I have supervised the realization of the mechanical effects,
namely those related to the construction of "returning"
and the creation of the "them" look.
So it is makeup
that the construction of a "double" automotive that replaces the actor.
The mechanical effects cover all situations
in which the returned suffered violence,
if it was not possible to use real actors.
Here the trick is not enough and have to be made twice
with materials like foam latex and rubber.
What are you doing?
What are you inspiring?
Michele, our director...
says that this is always the mandrake.
The mandrake is a grass fantastic, but in fact exists.
Found in cemeteries.
So our returners have these roots
entering the flesh.
We try to find this atmosphere in black and white,
even to remove those areas from clear and black
to create the separation between white and black, between good and evil.
The writer is Gianni Romoli. The writer of The Sect and Trauma.
He started in cinema in 1982, along with Sergio Corbucci
for which he has made some highly successful comedies.
Francesco Dellamorte is the black soul of Dylan Dog.
The two characters are like the two sides of the same person
with many similarities and some differences.
We both have a relationship with the world of the paranormal
but Dylan Dog solves the mysteries, Francesco Dellamorte complicates them.
He's a mystery unto himself.
As the result of the same author, the characters have common elements.
One of the traits of Dylan Dog, who like both characters
is to build a model of the galleon that he never finishes.
Similarly he takes to building a skull
which in turn you can never see finished.
One of the two, in his moments of relaxation, he plays the clarinet,
while the other finds fun talking on the telephone.
This to me is a touch of humor typical of Titian
that makes me laugh a lot.
This kind of film allows me and my colleagues
to participate in a speech more fantastic,
to leave the classical language of cinema and life.
Only in a movie is it possible that the dead return.
Yes, leave.
But get out of where? And above all, to go where?
Dellamorte sees the cemetery to be his whole world,
performs terrible acts but considers them totally normal.
So normal as not even having to explain to the world around him.
In fact, the world considers these things absurd
by not taking them seriously.
So who are the lunatics? Who are the returners?
Yes, I believe in reincarnation, or at least I think I believe.
I would like to be reborn three times as the character of this film.
I will interpret precisely three characters.
When you start off acting when you're young,
it's like...It's like being a prostitute really.
When you start off being a prostitute, it's quite easy, even quite fun,
but after the 15 000'th fuck, it's more difficult.
There is a strong moral in this film. Initially, the living dead
that embody an extraordinary event in history,
represent evil.
Dellamorte and Gnägi fight the evil so it doesn't spread.
But then they realized that the living are no better.
They begin to play a game with them
without distinguishing if it is good or evil.
Now I'm thinking somewhat differently
because fear is an interesting phenomenon.
But in the film feelings of fear or death of feelings
is more interesting than physical, bodily death.
Perhaps the film could be described as a romantic horror.
The death of feelings
then love, the beautiful things of life.
But it is beautiful to feel death...
that's fake of course, acted.
Death.
Cut. 53/23 first.
(Michele Soavi, in French) Francois, a little more to the left.
Action.
The character I love the most is that of the widow.
She's the kind of woman I'd like to be off-screen.
Of course not a widow. Or rather without horns.
A character so surreal, imperceptible, evanescent
in beauty. It's a character I love a lot.
Unfortunately I can't be that way in real life
because they are very extroverted, cheerful and chirpy.
No, I am good. I'm an angel. I look like hell, but...
Gnägi small Gnägi.
I don't think a film at this point is really capable
of giving a message of hope to anyone.
I feel many people are afraid.
Mostly on the surface and then underneath they show you.
Dellamorte, the protagonist of the film, is a mind-set.
I believe that many adolescents are found
because there is contained all the insecurity of adolescence
the fear to grow,
the desire to remain wrapped up in cotton wool.
They do not want to see what there is in the rest of the world,
so then our actors will try instead.
Whether or not they will find it is a surprise.
Really quite a problem that of returning.
What are you - adult, mature, balanced?
Are you really sure that does not disappear?
And how many times have you even thought of ending a life?
Is this not what it means to be a monster?