"Having reached the end of my poor sinner's life my hair now white...." "Hi, I'm Jean-Jacques Annaud." "I'm the director of the movie." "This movie fascinated me during the three or four years spent making it." "I'd been lucky enough to read the book Umberto's novel, prior to its publishing in French in the very first translation and I had been fascinated by the book." "And I had the feeling that it had been written for me because there were a certain amount of themes crossing into some fascinations, sometimes precocious, that I had." "I spent my childhood taking pictures of monasteries, since the age of 10." "I have a huge collection." "I was fascinated by ancient Greece, notably Aristotle, so there were themes that seemed to be written specifically for me." "By that time, I already was thinking about a movie that I was preparing, The Bear but I stopped it all in order to devote my body and soul to this venture." "Those pictures there, since I'm currently speaking 15 years later were shot six months after the shooting, with doubles." "Here, on the other hand, is a linking shot with Christian and Sean Connery." "I shot this in Abruzzo a chain of mountains splitting Italy, located in the middle of the boot." "And there, the monastery you see on top of the mountain is an addition that was made at that time in a very prehistoric way, since we built this cabin with a mirror on which we painted this little piece of monastery." "I was in a shed on top of this mountain." "And I had selected two doubles six months later." "On the other hand, here we are on our set." "I say this because I've often been asked where I found this fantastic abbey." "I did not find it." "It was in the book and we built it." "Dante Ferretti was the production designer, and everything you see at this moment, it's a film set." "A gigantic film set." "It was the first time I could afford such a set and it was the biggest set in Italy since...." "Since Cleopatra, which tells how sizable the set was." "This image there was rather decisive because when I read the novel, I thought that when the door opened you'd see this very special donjon at once this octagonal donjon." "Umberto Eco was inspired by the Torre del Monte, located in the south of Italy." "The item you see there, for example was also made." "This pot was made by potters, on a wheel according to models from this era." "I was indeed delighted in redoing all of this because, after having seen lots of monasteries, more than 300 I never found the right layout to tell this story." "Here, you see the great Sean Connery and Christian Slater in this...." "Going through this set this entirely built set." "It's kind of a mix of plaster, polystyrene, stucco and behind that, there is a whole tubular structure." "This small set, here was built, itself on the main set, what we call a cover set." "And now, we have Mr. Prechtel answering Michael Lonsdale." "This whole group of fantastic actors that I had found after a casting process that lasted for a year and a half across all of Europe...." "He is a great actor, from Munich." "I stress the fact that there is no...." "Aside from one specific actor we'll see later I didn't make up these people as I had done before for Quest for Fire." "These actors kept their own faces." "I simply insisted, occasionally on changing their features." "Here you see an amazing man who is Mr. Chaliapin who was, in fact, an extra." "But I hired him instead of John Huston, who had agreed to play this part and that I didn't hire, because I feared that having such a famous actor such a famous personality would indicate at once that he was to have a very specific part in the movie history so I preferred an unknown face." "And it's rather unusual to find an unknown face with an actor over 80 years old." "In fact, Mr. Chaliapin was a very wealthy man who had lived a very happy life insofar as he was the son of the famous singer, Chaliapin." "Here you can see the lovely Christian Slater that I met during a casting session in New York who impressed me a lot with his naturalness." "Since then, he has had quite a career." "As for Sean Connery, I must say I had thought, like a complete idiot that I was going to find someone with the same charisma as him, but I wanted an unknown person." "So I went through every theater in the whole world to find a charismatic actor around 50 years of age who is not famous." "And of course, he did not exist." "You are not unknown, at 50, if you are a great talent." "But I was like everybody." "By that time, I had an image of Sean Connery being 007, being James Bond and I could hardly imagine that he could become William of Baskerville." "His agent kept calling me, asking for us to meet, which I refused." "Till one day, Sean came to my office in Munich opened the script and said, "Listen, boy," with his fantastic voice and he read the first pages." "And I must say that I was so impressed by his reading that I rushed to see my producer to tell him, "It's okay." "We have our actor."" "Unfortunately, when I said that to Umberto Eco, the author of the novel he also almost fainted." "His wife almost choked." "We were in a restaurant in Milan and the company we were with, which shall remain nameless the American company who was to put up money for the film, decided to withdraw when they found out we were going to hire Sean Connery." "But I must say that when Umberto Eco saw the movie for the first time he told me, "What you did best, and what I feared most, it's that Sean Connery is fantastic."" "I must say it was great luck for me to be able to work with Sean who is a great actor." "You often hear that after a movie, everyone is speaking about how great it was to work together." "Now, I am speaking 15 years later after having seen Sean, often by chance and we have a great affection for one another that comes from true harmony during the shooting from a great joy, for a director, for me, to be able to direct what I called, for a while, a Rolls." "Nowadays, maybe one would speak of another car, but Sean was definitely one of these fabulous monsters to whom you can ask anything of and who does everything right on the first take." "Same for Michael Lonsdale." "Great, big professional." "He has a dynamism that totally fit my concerns, there." "What was interesting was to make a movie that was going to show the cultural variety that could be found in an abbey at that time, the universities of today in which every nationality mingled." "I really loved playing with all the accents of these monks coming from various regions of the medieval world." "... Adelmo's death has caused much spiritual unease among my flock." "This is my novice, Adso the youngest son of the Baron of Melk." "The shooting, here for example which is not obvious when you hear what you are hearing is dubbed, even in the English version." "Because this set I had built, it was somewhere near Rome and it could have any quality, it was close for everybody but it was between a railroad and a highway and right in the takeoff axis of Fiumicino's airplanes." "So the sound was a pure disaster, indeed." "And moreover, this set being built with plywood, the footsteps didn't fit in at all." "So all of these scenes have been dubbed." "Ninety-five percent of the movie, even in the original version has been dubbed." "... your monks suspect the presence of a supernatural force within these walls." "That's why I need the counsel of an acute man such as you, Brother William." "Acute in uncovering and prudent, if necessary in covering up before the papal delegates arrive." "Surely you know, my lord, I no longer deal in such matters." "I am indeed reluctant to burden you with my dilemma but unless I can put the minds of my flock at rest...." "One thing that fascinated me with this movie was that there were several levels to approach it from." "One very obvious level, as we have here, a cinematographic show." "But what I really liked was that I had to deal with historical issues, with concerns coming from the confrontation of various religious factions." "It's most interesting for a director to have various levels of action." "Adso!" "There, I'll show you an image that had me worried." "This interior of a church has been shot, oddly, on a real set an abbey named Eberbach, located in the Rhine Valley in Germany, in which we did other scenes." "Which means that our exteriors are built sets, while some interiors the images we see here are shot in a real place, in a Cistercian abbey." "But we had to bring all the furniture, including our stalls and this virgin under which Ubertino de Casale bows low who is played by an extraordinary and legendary actor, Bill Hickey." "He is bowing low in front of a virgin that has been described by Umberto Eco as being extremely attractive." "She had, I can remember it from Umberto Eco's description her chest and bosom squeezed in a small piece of cloth a kind of bra, indeed, that made her extremely erotic for people at that time." "And I had to build this statue, because at that time in 1327, we are at a time when the finishing Gothic art doesn't show women's bodies yet." "So I had to make a statue, and I was given a model to approve." "But when the statue arrived on my set, it was clearly a Renaissance statue, so I turned it down." "And then, my chief designer, my producer, became mad and said, "Are you nuts?" "We had this huge set built, we had the stalls made of oak tree, wrought iron." "What's the problem with this so-called Renaissance statue?"" "So I explained that the figures were not adequate that it was a much later style, but I finally agreed to shoot with it." "And at the very first screening of the movie, which took place in Marseilles the first question I was asked after the screening was how could I have not noticed that this statue was an incredible mistake, dramatically damaging the film's credibility." "... something feminine something diabolical about the young one who died." "Let's come to this man, to Bill Hickey." "He had a very famous acting school in New York, and he trained generations of actors." "And I very much enjoyed working with this movie legend." "He had a very beautiful part in Prizzi's Honor the movie by John Huston." "I'm afraid, William for you, for me for the outcome of this debate." "My son." "The times we live in." "What I loved in this movie, was to play with all these faces so different, these talents coming from totally opposite universes." "Get back Sean Connery after the whole James Bond saga, and lead him to be a 14th-century monk." "Here is the virgin I was speaking of." "Having the difficulty, also of working with a beginner such as...." "As Christian Slater or working with Bill Hickey, who is indeed a great comedy actor, this is a big pleasure for a director, obviously." "Please note that all the tonsures are real." "Not a single toupee." "Here we are back on my set." "Please also note that the gray sky in the background is artificial." "I had huge smoke machines, because I was shooting in Rome where the weather is usually great with a burning sun and I broke this southern weather by sending up huge amounts of smoke." "I had three Land Rovers fitted with big military devices, used to blur the place, in order to not be seen by planes." "So I used all this equipment." "Incredible luck, here." "What you have here is an image shot on our Rome set with artificial snow." "My concern was that, within 15 days, I had spent my whole snow budget." "And I was lucky enough to get real snow, in Rome most unusual during my shooting." "I'll show you when." "God sent me what I needed to complete my movie." "Here again, we are on our set." "And we are about to reveal the beautiful Valentina Vargas who, I must say, had been opposed to several fantastic other actresses, but she got along with everybody because of her wild charm." "Adso?" "No devil needed anymore." "Here she is." "Yes." "More blood here." "That's where he fell from." "He jumped." " Adso, are you paying attention?" " Yes." "Again, this entire film has been made, and every detail of our costumes...." "Here, for example, I see this." "We had Moroccan weavers to do everything, some very particular weavings in goat hair as well as the sandals, for example, also made of goat hair." "Every detail, when I see such an image, everything has been made up for the movie." "Every detail, including the trees, has been put in." "We go back there, nowadays there is nothing left, just this piece of cliff, and that's it." "... is a place abandoned by God?" "Have you ever known a place where God would have felt at home?" "We praise almighty God...." "Here, we are on the Eberbach set." "Again, it's a place that I've fit out, that was in a former church, and I've built this refectory in it." "I had made very important historical investigations in order to know, for example, what was the flatware like what the plates looked like how the monks were sitting, what were the light sources." "Everything that's on the table has been made for the movie always after models from the time, and under a medievalist's guidance whose name is Jacques Le Goff." "The pulpit, on the right, has been built..." "I still have it in my garage." "Has been built for the movie." "The tables have been built for the movie." "The basins, in which you can see the glowing embers were made for the movie as well." "Here, we begin to make out these faces that I call marvelous." "I have looked closely at paintings and engravings of that time what is called the marginalia, that is the monks' drawings in the manuscripts, in the margin." "Again, an image shot on the spot, with some big lights set on the top of the tower." "This astrolabe we made it from an ancient model." "It is very beautiful." "It is in solid copper." "This was a small set used as a cover set, in which we could go and shoot when the weather was too bad." "Every scene shot in the cell between William and Adso were last-minute scenes, unprepared when I could not shoot on the big set due to the bad weather." "It had the advantage of being built on the spot." "Each one of these manuscripts has been handmade in various abbeys specializing in the restoration of ancient books." "Back to this Mr. Chaliapin." "I had asked him to remove his dentures and I asked him to wear contact lenses." "White, and so he couldn't see anything." "He was totally dedicated and marvelous for the movie." "Again, we are on a set in which the monks are working, what is called a scriptorium." "And it was also shot in a former refectory, in this cloister in Eberbach, in Germany." "A detail, here." "You see Sean Connery with this oil lamp." "Actually, behind this oil lamp, there is a small flashlight equipped with a dimmer but it has to be supplied." "And so Sean was wearing a battery belt that allowed, with a wire, to feed these lamps." "It's always a big issue for everybody to increase the flame on camera in a way that the little hidden lamp was able to provide enough light for his face and his partner's face." "Here is the set in Abruzzo." "Here, I shot in the real church in this cloister, but everything you see behind, the stalls' woodwork was entirely made by us, in old oak." "All this, the candle too has been made for the movie." "It took almost one year in production to shoot the movie." "The fog here is real." "Sometimes one gets lucky." "Here, you see...." "It's an expensive set, because the wood is something very heavy, and it took a lot of time to make all this." "It's a character, playing the part of this monk who is an actor, who was an actor, who was mythical, in Austria." "His name is Qualtinger, I'll come back to him later." "He was a man who was strongly...." "He was deeply anti-Nazi and had great fame." "With this scene comes the spectacular part of the movie." "The part that is, in a way like a detective film, I should say." "The moments when the movie tackles the enigma." "And I must say it was fun for me to have to go from some scenes in which we tackled religious issues, to some scenes like this one rather gruesome, this one which is the first scene dealing with the murders the effects of which we see on-screen." "What was fun, was to have a series of clues that we were to find again later." "It was the first time I was shooting a movie of this kind, and I looked at many famous thrillers." "I looked in particular at all of Hitchcock's movies and read all of his interviews in order to properly give structure to the detective framework of the movie, which I used to compare to a mille-feuille because the overall taste cannot be judged from the layer of pastry, or the layer of cream or the sugar above." "You have to eat the cake vertically slicing it in a way that allows you to taste every flavor altogether." "And that was one of my fascinations for this movie." "Of course, I've scrupulously kept the book's structure for these events." "On the other hand, it is obvious that I had to make some choices in a 550-page book requiring 16 hours of nonstop reading." "The movie is two hours 10, one must choose." "... will fall in fountains of water." "Do not squander!" "The last seven days!" "Of course, there are elements that are not in the book and that you have in the movie." "Visual elements the writer cannot describe." "Every detail you can see here, in this image." "But on the other hand, you see the sphere on the right that we will find again later, that has a part to play in the various murders that will come." "All the retorts, these things, have been made according to ancient models because you cannot find such objects in the museums, or if you find them they are so rare and expensive that you cannot bring them to a shooting." "... in which you apply arsenic, Brother Severinus?" "Yes, indeed." "It is a most effective remedy for nervous disorders if taken as a compound in small doses." "And what of not-so-small doses?" "Death." "Here, it's a small set that had been built on the big one, one of our cover sets which was built directly on the main production set." "This man is a Russian actor whose name is Elya Baskin." "He is now working in the States, and it was his first part in English." "... or against nature." "And they were not of the latter disposition if you ascertain my meaning." "Here again, artificial fog and there, the big gate." "Umberto Eco was inspired by the Moissac gate which was totally rebuilt on the main set, as well as the gate interior." "And all of these bas-reliefs, these friezes...." "All of these are castings, or are originals." "The moving statues are in latex." "Here, I have my favorite actor who is Ron Perlman who I like very much, who gets me laughing, who fascinates me." "And I discovered him for Quest for Fire." "He was one of the two protagonists in Quest for Fire." "There, he has some kind of a fake nose he has dentures in his mouth." "And on the other hand, the specific tonsure he has on his head, scabies-like had been done for good, and it meant that my poor friend had to live with a bonnet for six months." "Ugly con Salvatore, eh?" "My little brother, penitenziagite." "He is a great actor who has had a fantastic career." "But, because of me, he made a career as a beast, a monster in various movies." "He was in Jeunet's Alien he was in The City of Lost Children he was...." "He was in a very big TV series, Beauty and the Beast, in which he was not playing Beauty." "He is an incredibly adaptable actor and I had the great pleasure to meet with him again for Enemy at the Gates." "It's called Stalingrad in France, and he had an amazing performance once again." "Here we are in one of those scenes in which we tackle the historical side, the religious history with this dive into the heresies of the time." "Which is rather difficult in a movie meant for a movie audience, an audience composed of every social and cultural circle, to try and slip in those kind of things without tiring, without annoying while giving the necessary keys to fully understand the whole complexity of the story." "An extraordinary thing with Sean Connery, he is fantastic in the first three takes and he will not accept, in fact, technical mistakes because he is losing a lot of...." "Let's say losing his innocence in the following takes." "It's a great joy for me, for I'm not someone who likes to make multiple takes." "I like it when it's good the first few times." "What we would do with Sean, we rehearsed a lot, sometimes 20, 30 times and we would do very few takes." "But, yes, you're right." "We must keep an open mind." "We are very fortunate to have such snowy ground here." "It's the parchment on which the criminal unwittingly writes his autograph." "Now, what do you read from these footprints here?" "That they are..." " ...twice as deep as the others." " Good, Adso." "And thus we may conclude...?" " Well, that the man was very heavy." " Precisely." "And why was he very heavy?" "Because..." " ...he was very fat?" " Or because he was being burdened with the weight of another man." "Let us commit the autograph of this sole to our memory." "But the footprints lead away from the jar in this direction." "Oh, you turnip, Adso." "You're discounting the possibility that the man was walking backwards, dragging the body thus...." "Hence, the furrows created by the heels." "Now, where did the erudite Greek translator meet the anonymous author of his death?" "Here, this scriptorium set we came in, in fact, through the exterior door built on my set in Rome, and we are now in Germany, in Eberbach, in a Cistercian cloister." "The room in which I built the scriptorium was the former refectory and all the furniture you see was built for the movie the lecterns, the tables, the props the brushes, all were made for the movie." "As well as the books which were stored in a safe each day since each one of the books cost the production a real fortune." "They had been bound by some of the few book binders who know how to bind in the traditional way that was used in the Middle Ages." "In fact we hired some professionals who worked on ancient manuscript restoration." "Everything was done on parchment, on sheep's skin or on sheep's stomach skin, and even, sometimes on lamb fetus skin." "Here is what is called "occhi di vetro con capsula" that is "glass eyes in capsule."" "And the manuscript you see here was a big issue to me." "The images you see, there, were shot a few days before the release of the movie because the manuscript, despite all protective measures, had been stolen between the first and second day of shooting." "I trust my words did not offend you, Brother William but I heard persons laughing at laughable things." "You Franciscans, however, belong to an order where merriment..." " ...is viewed with indulgence." " Yes, it's true." "St. Francis was much disposed to laughter." "These scenes were very interesting to shoot, for me, because it mixed first, a lot of actors with fascinating faces and with a rich talent but what I liked most was the mix of the detective framework with the historical framework and, I could say, the philosophical framework." "There is nothing in the scriptures to say that he did." "Nothing in the scriptures says that he did not." "Even the saints have employed comedy to ridicule the enemies of the faith." "I must say that, at the time, I was personally fascinated with what may seem to be protractive wrangling but that was very serious in the Middle Ages, that divided the Church but split the world today, between Protestants, Catholics, Orthodoxes Maronites." "And then, at that time some heresies jeopardized the world's cohesion." "And yet, Aristotle devoted his second book of Poetics to comedy as an instrument of truth." "Many people thought that the faces were inspired by Bosch but no." "Bosch painted imaginary characters, characters from hell." "I looked mostly at Dutch painters, I looked at Brueghel." "When you look in detail, you can see that the mugs of that time that you can still find in some rural places we are not very used to seeing these kind of faces because there is a kind of televisual tradition to hire people with a standard physique magazine formatted, I should say." "I have been lucky enough to work with truly great actors with faces I'd like to describe as sincere." "For example, Michael Habek, who you can see here a fantastic actor from Bavaria I changed very few things with him." "I shaved him." "I shaved his skull and I shaved his eyebrows and I made him up with a very pale, very white, Pierrot face." "The reasons that led me to choose such extreme faces...." "First is my taste for these faces." "The second is a concern about the historical truth." "Because, at that time cosmetic surgery did not exist, there were no dentists." "And people's faces grew older as should be the case." "And the third reason was that I had characters in uniform in monk uniforms and in order to acknowledge who was doing what in the movie we needed to have highly recognizable faces." " Do you know where the books are?" " No." "But I'll wager my faith that that tower...." "When you see these days, which I mentioned earlier where the sky is desperately blue, I had to use the smoke machines." "Here, change of style." "After discussions on laughter well, a chase scene, which as it is done in music, you alternate slow and fast movements it gives dynamics to the storytelling." "Here again, I did my best to follow closely Umberto Eco's structure." "I must say that I had a fabulous relationship with Umberto Eco who still is, to this day, one of my best friends and probably one of the men that I admire most in the whole world." "A man of incredible culture, but also incredibly funny." "He had an incredible attitude with me." "He told me, "That's my book, and that's your film." "The one thing I ask...." "My book has been successful make a successful movie." I told him, "That's something I cannot promise." "I can promise to spend all the time needed, to work with all my heart but I cannot...." "There is no recipe for being successful." "Unfortunately, I cannot guarantee the one thing you are asking for."" "I assumed he could not resist the temptation to penetrate the library and look at the books." "All this was shot at night, on my big set." "Tonino Delli Colli was in charge of the cinematography and he is a true genius at this." "He is always ready before everyone else." "He works incredibly fast." "He started his career at the time of classic Italian cinema." "He was a cinematographer for Pasolini, Scola, Fellini and more recently, for Benigni." "He is a most incredible man and I owe him for all these images." "We were inspired by a lot of famous paintings." "A lot of Rembrandt, of course but also a lot of Dutch painters, whose lighting I'm very fond of." "All these scenes that look very simple." "What was very tough, I mentioned it previously is the interplay of our lanterns." "How...." "Christian, there, holding this lantern it's very complicated, he must light his face without revealing the small lamp lighting up his partner, Sean Connery." "It's fun, my job is funny for this reason, in that we have several things to handle." "We have, of course, the narrative structure of the movie, and we also have all these details which waste our time when shooting, and if you don't handle it correctly the story itself will suffer from this." "I want to say that for this ink we used a very ancient process but we quite simply used some lemon." "Of course, we had to do that 20 times, which Sean was not very happy with and he became nervous, because the lemon didn't always have the right density." "It's rather complicated." "Ah, yes." "Written with lemon juice." "Sagittarius." "The smallest detail, for example this hammer, was made for the movie." "It was forged according to ancient models." "It's some zodiacal code giving directions, but to where?" "Hey!" "Who's there?" "Who's there?" "I loved looking at all these books." "I loved them so much." "I wanted to have the privilege of touching those wonders, in a way to own them." "That's what's great when you are directing a movie you have this fantastic pleasure to create what you want." "And all I see, there, at this very moment these are images I dreamt of a few years before shooting them, to make them such as I had seen them." "Very often, people say, "Why build?" That's because I cannot find in the real world the dream I had when reading the book or more simply, when dreaming." "I love to make my own world." "I found this set in a real vault in this monastery, in Eberbach." "And I asked my producers to arrange for this scene to come late in the movie, because such scenes with sensuality, are very difficult to tackle." "And of course, with the other sets not being ready I had to shoot this scene on the second day of shooting." "You can imagine that when the crew and actors don't know each other well are not familiar with the crew, the set, and even the story having to deal with a scene in which you have to manage the actors' confidence you always feel very bad." "I shot the coming scene as I always shoot these scenes, shooting only one take but with three cameras, with a very small crew." "I'll find you." "In this movie, I had to alternate wide shots with closer shots because you have a lot of details that are important to the detective story since I'm, in a way, in a Sherlock Holmes story." "All these clues have to be shown subtly." "Every close-up, every detail has its meaning." "And sometimes it takes a lot of times." "For example this package, we had to gauge it." "We added this detail a few weeks later, in fact." "Here, I come back to this scene." "I had explained to Christian Slater that it was the girl's scene, that she would be the one doing it according to what I'd say." "... radiant as the sun terrible as an army poised for battle?" "This part of the scene was shot in the morning and the second part was shot during the afternoon." "Even if there is only one take the time it takes to get psychologically prepared to set the cameras, to have everyone get out, keeping only the crew needed, the cameraman, the sound man, the script and I it takes a lot of time." "And what is scary for such a scene is that it doesn't work the first time, it never works." "Here, we have the afternoon scenes." "The camera has completely changed, I was on the other side." "I wanted to have the woman's hips in the foreground and in the afternoon, for the end, I wanted to shoot this axis." "Close to the faces, close to some tenderness." "Here, again, I'm on the built set with the artificial snow." "This is where you catch them?" "These heresies, particularly the Dulcinian heresy, had been a true drama for the Church that jeopardized the cohesion of Christianity." "Today, this drama seems very distant but we still are, as I said before, their natural heirs." "As you're a good Christian, you must tell me this." "So Adelmo gave the parchment to Berengar." "No, no." "To the translo...." "The transla..." "Translator!" "Venantius, the black monk." " And what happened then?" " Then...." "When I'm asked which are the most difficult scenes in such movies I always answer the love scenes which are incredibly tough to tackle." "It has a tonal unity that I thought very important, as you can see." "I worked a lot on beiges, on browns, on blacks contrasting with scenes later on, in which you have the brightness of papal clothing." "At that time, there was a whole symbolism of colors meaning that poor people could not access expensive pigments and dyes so they were always wearing brown clothing or dark blue clothing, or faded black clothing." "Only rich people could afford either the white, that has to be washed or the vivid colors needing very expensive pigments." "That's why Franciscans were in brown, which was in fact the base color, without any use of pigments." " He must have been a very ugly monk." " Why ugly?" "If he'd been young and beautiful...." "So, every sound was rerecorded afterwards." "When you redo the voices in post, you have to redo everything." "In fact, the one scene that was not dubbed in the whole movie, is the one we see here." "That means nothing regarding the French version in which everything was dubbed but in the English language, it's the one that remained, because it was shot during the night and so there were not too many people on the highway, or planes." "It's another scene, here, that I did exactly as I did the love scene." "It's a confidence scene." "And I shot it in one take, with a camera position that's very static, as you see and another camera working on the close-ups." "And I love these scenes in which the actors have time to grasp the tone of the scene." "I remember one thing." "At the end, I had been so amazed by the simplicity of Sean's acting that I had a lump in my throat and couldn't say "cut" and I had to physically go in front of the camera and make the sign to cut." "... in love?" "In love?" "Yeah." "Many times." " You were?" " Yes, of course." "Of course, I didn't have big success with this in the States." "I have to say that I received horrible reviews with this movie." "By horrible, I mean, you have to experience this once in your life in order to either survive, or to do something else." "And I really wasn't spared by the critics." "And I thought, reading these horrible reviews and when I saw the disastrous results in America that I should go back to my former job which was shooting commercials." "The American media, in absolute unanimity had found the movie to be dirty because the actors were not very clean..." "They were wearing unwashed clothes." "... and incomprehensible and of course, such a scene weighed into their judging." "I had some very painful moments, it took some time to recover." "And the film had a long life." "It's a film that had huge success in Europe and in Asia but never really worked in the States, except for a few years when, thanks to video and television the movie became famous." "Of course, I don't have the benefit of your experience." "But I find it difficult to convince myself that God would have introduced such a foul being into creation without endowing her with some virtues." "How peaceful life would be without love, Adso." "How safe." "How tranquil." "And how dull." "So, this is shot in Abruzzo, with doubles." "How beautiful." "Lord, you have guided...." "It's weird, when speaking of these horrible reviews I always feel a pain, I think." "I admit, I find it good...." " Amen." " Amen." "Brother Berengar?" "I love reviews." "I'm not blaming the media, it's simply that when there is such an unanimity, as there was for this movie I wondered whether I should keep doing this job so poorly." "Brother Berengar." "Master, look." "The door." "Brother Malachia." "I really do love this actor, Volker Prechtel." "He is a very popular actor who is working a lot for television in Bavaria, and he has such a weird face such a remarkable thinness but he holds his physique with a true authority." "And as I said before it's important to recognize at first glance people all dressed in black." "It is a strict rule of the abbot that no one is permitted to enter the abbey library other than myself and my assistant." "I see." "Thank you again." "I was very pleased when recording the sacred music." "I recorded that at the end of the movie with a Munich choir and I had the pleasure of conducting the choir by myself and with the help of a choirmaster." "I had the extreme joy." "I am a huge fan of classical music and it was a very rare occasion to have several instrumentalists under my conducting." "Welcome to our abbey, Brother Michele...." "Here, we have Andrew Birkin, he is Jane's brother who was one of the four scriptwriters." " Unhand me!" " Salvatore, let him go." "This is Cuthbert of Winchester, one of our most esteemed Franciscan guests." "Come, Your Grace." "We have a most urgent matter to discuss." "At this level, since I see Andrew Birkin, here, on the right I'd made 17 versions of this scenario." "Nine with my friend Alain Godard, who was the first to sort out this very complex novel." "And after one year of work with me, he broke down one day and he crossed himself, like Ubertino de Casale and he asked me, "Will this ever end?"" "And indeed, it was very complicated to write." "After these nine versions, I asked my friend Gérard Brach to get involved." "He did three other versions, and after that I finished with Andrew Birkin on the last versions." "In the meantime I worked with another scriptwriter, whose name is Howard Franklin who helped me with the 11th version." "Did you find a book in Greek?" "No." "I was right." "So was the book of Revelation." " We must talk at once." " Indeed, we must." "And I have much to tell." "Just as soon as he and I have examined this corpse." "Here we have Michael Habeck who let himself put on some weight, as everybody can see." "None that I know of." "Ink stains." "Lots of dialogue comes straight from Umberto's text." "At that time, I remember I knew the book's 550 pages by heart." "And I still have, today, a passion, a huge respect for this movie..." "For this movie!" "For this book." "What I wanted to say, what's fun for Umberto and I, very often people come and see Umberto, saying, "I really love your book!" "It's great!" And they quote a scene or several scenes, that are not in the book, only in the movie to his total amusement because he has enough humor to laugh about that." "... who possessed this parchment before Venantius." "And how do we know that?" "Because those random notes overrun Adelmo's blue smudge, and not vice versa." "Brother William, this abbey is enshrouded in a terrifying mystery." "This is shot on a set in Cinecittà." "This set of a crypt has been built on a stage." "It's one of the sets built in these mythical studios in Cinecittà, with the one, later, of the library." "... great pains to conceal a secret of the first magnitude." "Now, the calligraphy is, without question, left-handed." "And the only left-handed member of your community...." "Here, this framework, on the other hand I'm totally in Umberto's text very close to what he wrote in the book." "I have the feeling that you're about to tell me." "Books." "Restricted books." "Spiritually dangerous books." "Everyone here knew of the assistant librarian's passion for handsome boys." "When the beautiful Adelmo wanted to read such a forbidden book Berengar offered Adelmo the key to its whereabouts...." "Here, I'm using the traditional structure of an enigma movie in which you have a summary of the drama, so that everybody is able to understand the theory." "But I have to do it through images...." "Show images already seen in the movie, or that have not been shown." "There was a witness." "The hunchback who saw Adelmo giving this parchment to Venantius." "Then running towards the small tower and hurling himself out of the window." "Let me take advantage of this summary to speak about the music, composed by James Horner with whom I fell out during the recording simply because we were among the first people to use a sampler." "Today it's a most common technique." "But what we wanted to do was to record in museums, ancient medieval instruments and to replay these authentic instruments on a computer keyboard." "The problem being that, at that time, the procedure was so primitive that the slightest minute of music required a considerable amount of time." "So after having chosen every detail of the sound when I heard everything together, I was very often unsatisfied." "And I must say that James and I fell out for some years, in fact while acknowledging that he composed quite extraordinary music." "I love very much, I must say, this small bell that he put there." "But I must add that since then, we met again with great joy and I did Enemy at the Gates with him." "And I really think he is a remarkable man and a great composer." "Thank you, Brother William." "We are mindful of your efforts but I should now ask you to refrain from further investigations." "Happily, there will be someone arriving with the papal delegation who is well-versed in the wiles of the evil one." "A man, I believe, you know only too well." "Bernardo Gui...." "Since we are speaking of Bernardo Gui Bernardo Gui was a real historical character one of the most famous inquisitors of his time and you can still find his written works which inspired a lot of the Nazis' torture techniques and that remains one of the most extraordinary texts on how to make the most of denouncement and the best method to get confessions, even if they are fake." "And I showed him in the movie in a very dark light." "Actually, he was considered, in comparison with other inquisitors to be someone who tried to end the Inquisition's abuses." "William is always right!" "No matter what the consequences, to himself or anyone else William of Baskerville must always prove himself right." "Was it not your vanity, your stubborn intellectual pride that brought you into conflict with Bernardo before?" "Do not tempt fate twice, William." "Even the emperor won't be able to save you if you tangle with Bernardo again." "That was in the environment of our main set." "As you see, it's a huge set to manage, several hectares and it was very difficult when you wanted to have snow, all this snow, this foam." "It requires many hoses, firefighter trucks." "And moreover, the snow disappears in a few minutes in Rome's warm climate." "These images have totally disgusted our American audience." "It's, of course, inspired by the medieval era which you can find, as I said in Brueghel's paintings." "... to lifting her people out of their physical destitution and spiritual deprivation." "Here, I'm back with the images shot in Germany." "With these Gregorian chants that were synchronized later but I had taught all the extras to sing in the same rhythm." "We have Vernon Dobtcheff, there beside William, beside Sean Connery." "Farewell, William." "You are mad and arrogant but I love you and shall never cease to pray for you." "Goodbye, dear child." "Try not to learn too many bad examples from your master." "He thinks too much." "I remember having said to my designer, Dante Ferretti:" ""I'd be extremely angry with you if people think that you have made a marvelous set." "What I want to hear is that we found a fantastic abbey."" "And I must say that he did so well that nobody thought it was a set and so, he was never nominated for the best set of the year." "Everybody thought I found that in the marvelous European monasteries." "I truly went and saw every...." "Not every one, there are so many of them." "But I went to see more than 300." "And since I never found a monastery with all the qualities I wished for I had to have it built." "Here we are entering a built set, on a Cinecittà stage but we are going to enter some catacombs that are true catacombs found under a restaurant near Rome." "I wanted to shoot in other catacombs which were the catacombs...." "The famous Rome catacombs." "Unfortunately, the Vatican learned that it was for Name of the Rose, and they thought it was so blasphemous that I was strictly forbidden to shoot on any of the Vatican's properties." " That one." " My choice exactly." "We came this close, Umberto and I, to being excommunicated." "It's incredible to see how things can change in a few years." "Nowadays, Umberto Eco is a leading member of Italian culture but when he published the book there was a leap from the Vatican which prevented me from shooting in any place that was a possession of this Italian church." "Those are the foundations of the tower." "But how we reach the library..." "The rats love parchment even more than scholars do." "Let's follow him." "166." "Bolted scriptorium door." "167, 168, 169, 170." "317, 318...." "Here we are on another set that we built in the Cinecittà area." "I say "area" because we are not really on a stage." "I made the studio around the set because the set was so big." "There was no studio in the world that could welcome it, in height." "I could have put it horizontally, but this one was vertical, unfortunately." "On the other hand the various rooms of this maze being all similar...." "I only had three of them built." "These small, hexagonal rooms that we see." "And it was a hell of a brainteaser, because each time, we changed the books and the layout inside." "Here, for example, we are on the same set in the same room as the previous room." "But the lecterns are not the same, the books the lights are not the same." "And so, you are lost, which is the true idea but I must say it was a real headache remembering on which axis we had shot." "Here, we have a wonderful piece of work of which we had redone around 30 pages, all by hand, of course." "It's a book I promised to give Umberto." "His son was in charge of keeping it and he put it back into a safe each day." "And the last day of shooting when we offered it to Umberto there were no illuminated pages left there was just 100 pages of raw parchment." "To this day, I still don't know who stole this manuscript." "All this, each of these scenes has been shot in one of these three little cells." "A microscopic set, it was hard to be all together because we were a big crew, indeed." "... and ideas that could encourage us to doubt the infallibility of the word of God." "Always the same issues with the lanterns." "Once again, for it was such a headache during the shooting." "See, there, the young Christian Slater has to move the lantern direction, so as not to see the lamp interior and must remember to light up his face." "Master?" "And here, we are on the main set, that was built for good." "I was very angry when I read that I had some models that it looked like models." "There are no models at all, except the one at the very beginning." "This abbey on top on the mountains, all of this was built at full scale in this huge place, and I think they kept it for a while in Cinecittà." "I'm not walking, Adso." "I'm down here." "All of this woodwork was made out of ancient wood that had been salvaged from some old farms, in the Rome region." "A lot of work on the sound, of course." "It's a movie on which we worked a lot." "In a scene like that, stereophony..." "I was about to say polyphony." "It's extremely important to know where a sound comes from, and this confusion was very important for the story." "And that's why the movie was released in 70 mm." "All that you see there was real material." "Today, we probably wouldn't do this, but at that time, yes." "All of this was built in ancient wood with stone moldings, a gigantic set that was done by Dante Ferretti." "I'll add a very funny thing, a detail." "When I read the book I realized that the set was not described as having several floors." "I went to see Umberto and asked, "Tell me, Umberto." "How many rooms in your library?"" "He answers, "About 100."" ""And how many floors, for all that?"" ""Oh!" He knocked his head. "It's true." I said, "No." "What you described is a pizza." "It's not a tower at all." "It's flat, it's real big." "So, what do we do?" We were in his home, in Milan." "He ran to his library and came back with a picture of Escher...." "These famous Escher staircases." "And another book on Piranesi's jails." "And, of course, that was our inspiration." "... lovesick person does not want to be healed and his dreams cause irregular breathing and quicken the pulse." "He identifies amorous melancholia with lycanthropy a disease that induces wolflike behavior in its victims." "The lover's outward appearance begins to change." "Soon his eyesight fails, his lips shrivel his face becomes covered with pustules and scabs." "Marks resembling the bites of a dog appear on his face and he ends his days by prowling graveyards at night like a wolf."" "Master, I can see a lantern." "Don't move." "Stay where you are." "It's always an issue, for us moviemakers when we think out a movie for a medium, and the original version of this movie is meant to be seen in 70 mm, on a big screen with six tracks of sound." "And if you reduce it a little, you no longer have the true, original version." "Look!" "There!" "You foolish boy." "It's only a mirror." "Master!" " The books, boy!" "Save the books!" " I'm trying to save you!" "A trap door and a mirror." "We must be almost there." "The one special effect of the movie is this little monastery on the mountain." "Today, you no longer make a movie this way." "Today, often, 20 percent of the movie is done in postproduction." "Here, everything was shot as seen." "... as to surrender our parchment to the abbot without making a copy?" ""Manus supra idolum, age primum et septimus de quatuor" is what?" "Christian has a marvelous innocence." "It's a great pleasure, for me to work with new actors." "Because, finally, there is more to do." "It's more risky, before the shooting you are worried but what a joy to see an actor blooming in front of the camera." "I remember Tonino had a little bit too much lit up this night." "It was a real night, with on top of the tower, floodlights, like on a soccer field." "But frontal light didn't look as beautiful as profile light." "And again." "Do you hear that?" " It's my teeth, master." " What?" "My teeth." "Don't be afraid." "I'm not afraid." "I'm cold." "Well, we shall return." "Don't leave on my account." "No, no, no." "I must confess, it eludes me for the moment." "What is great, in Umberto Eco's book, is that he is...." "He is the sum, as they said in the Middle Ages of a vast culture, the result of 30 years of erudition." "And it was a pleasure to try and grasp this erudition." "I did my best, surrounding myself with all the specialists that could help with a myriad of details so that the image could be faithful to the incredible amount of detail that Umberto had in his text." "You see, there, for example, this torture instrument...." "We made them all according to the models of that time." "I still have in my house some scary books on torture instruments from the Middle Ages." "I read, at that time, many witchcraft handbooks." "My wife was frightened, I must say." "I remember a weird detail is that I had to take a picture of the edge of all these books I had taken in the library, because the fiscal auditor of the production company had stated that we didn't need 350 books to shoot a movie." "Actually, we had bought much more than 350 books, and I kept 350 books that were necessary to find the literature required for these scenes." "Here, for example, this witchcraft scene we see here is written in one of the books." "I think that's Agrippa d'Aubigné, I'm not sure." "Lucifer, be at my service." "On the love relationship, I've of course altered the meaning from the novel yet I kept some scenes very similar." "But the young girl vanishes from the novel around the middle and she is never spoken of afterwards." "I don't present exactly the same relationship." "In all of my movies." "I save an important part for the womanly presence, and...." "And precisely, my films are there for me to show this." "And while in the novel the girl is given up and there is no real issue of a choice here, of course, is the one which would have been mine if I had been a monk." "Truth is that love." "The love passion the feeling, what drives our life...." "For people like me, who have read who spent a lot of time with books, who are a generation for knowledge, for learning." "All of these are things that I like in my personal life so I approve of them." "But eventually the world of instinct, of feeling I know that's the overpowering one, and that's what I want to say here." "So, here is the part straying from the book, in a way but it totally tells what I believe in." "That is, when you adapt a book you bring out what moves you, specifically." "Each person could shoot a totally different movie after reading a book as rich, as complex as The Name of the Rose." "Tomorrow we endeavor to learn if these events are connected with the even graver mystery that afflicts your abbey." "Lock them up that we may all sleep safely tonight." "Here, you can see the costume textures." "I spoke early on about the importance of details." "And when I see period movies with textiles that are machine-made and sewed with thread that are machine-made it certainly doesn't have the right texture." "And so there is a kind of lie, obvious to any of the spectators." "That's why I'm focused on details so that nothing gets in your way and you can rely on the essential." "But that's not true, and you know it." "I know." "I also know that anyone who disputes the verdict...." "I have a tactile pleasure to be with beautiful objects." "See, the detail, on the table." "They are still in my house because they were made with lot of love and I didn't want to leave them." "And they are beautiful items, copied from ancient models by talented potters." "I too was an inquisitor but in the early days, when the Inquisition strove to guide...." "And I must say that there is...." "I take a lot of pleasure in doing this job, because you work in many dimensions." "For example, here, the room structure." "I love rooms in which the set catches the lights, so I worked on the geometry of the set, but also on the quality of the shutter's wood, behind him and also the wall material, so that the wall is not smooth it is handmade, as in the past, it is a little biased." "Actually, it's very expensive to build a set that is not vertical." "Because, today, the machines cut everything at right angles." "So, in order to have this credibility, it becomes very expensive." "... and I recanted." "What happened then?" "The man was burned at the stake." "And I am still alive." "All of these weapons were made for the movie." "Once again, because you cannot find the props you need in the props store." "It's done with tinplate, as they say, for the movies." "Brother Salvatore...." "It's one of the first scenes I shot in the movie." "These torments will cause me as much pain as you." "I knew that this poor man my friend Ron Perlman, couldn't be in the movie since I had to observe the quotas of a complex coproduction that was between France Italy and Germany." "Eventually, no Italian and 20 percent French." "And I had hired an Italian actor, but he wanted to wear a wig." "He totally refused to have his hair cut, shaved and so I dismissed him two days before starting shooting." "I called Ron Perlman, who was very much in despair." "He had no job and that day, he was waiting for a sign from the sky." "I asked him to pack and to take a plane to Rome." "He put everything in a backpack and came with his dirty underwear, and shot this scene the next day." "I did not know." "With the dawn came the envoys of the pope our adversaries in the forthcoming debate." "But it meant so little to me now." "Your Eminence, venerable brothers at last we meet for this long-awaited debate." "We have all journeyed great distances in order to put an end to the dispute that has so gravely impaired the unity...." "Here, the contrast between our Franciscans and the pope's envoys...." "Some people may recognize the amazing Lucien Bodard in his pope envoy costume." "Here is Lucien, without any makeup with his incredible physique." "And I must say that Lucien is a very old friend of mine a fantastic reporter, a great writer who was kind enough to spend many weeks with me." "And unfortunately despite my instructions, he was treated as an extra poorly housed waiting hours and hours before coming to shoot his scene." "The question is not whether Christ was poor but whether the church should be poor." "I'm happy to hear his voice, it's so specific." "It's his own voice." "He is dubbing himself, as well as Michael Lonsdale." "This small set was made in the Eberbach cloister." "As you see, there is a whole variety of places." "The chapter house, in the previous scene is the true cloister chapter house." "They are not the best sets since all of these cloisters have been rearranged." "Even a built set would not have looked as mechanically restored as that." "... wage war on the infidel." "You forget that even the greatest monument to our Lord is but a pale reflection of his infinite majesty and glory far outstripping the church...." "Then, coming back onto an artificial, built set you see that the set built for the movie is more realistic than the real set of that time today rearranged as a museum." "Another thing, this set has the correct patina which you cannot do when working in a true ancient abbey." "And so, this abbey looks modern, fake." "Here, it's a joy to see all of these props." "Again, all built for the movie." "Another important thing in order to have the feeling that we are really in that time." "We worked a lot on the behavior." "I've worked so much...." "A very beautiful astrolabe, made, of course based on models of that time." "We worked so much on the behavior and I stressed to my actors that you should not, when you are a monk, speak with your hands that you should try to have an evasive look." "Today, still, I happen to speak, in my daily life...." "Speak with my hands in my sleeves." "For years before, I had a kind of simian behavior from trying to ensure that my actors, in Quest for Fire would not use their hands as we do nowadays but as our ancestors did, maybe." "Thank you, brother." "Here we have...." "These images with Helmut Qualtinger really move me, because Helmut finished his life on our stage." "He was very ill, and I didn't know it." "He never told me." "We'll see him in one scene soon, which is one of the last he ever played." "Here, in white, we have an actor who was in my first movie whose name is Peter Berling, who nowadays is a successful medieval novelist." "He had been Fassbinder's producer." "The Lord commanded his disciples on no less than seven occasions:" " "Carry neither gold..."" " Venerable brothers!" "Brethren, if you please!" "A matter has occurred of the utmost gravity." "Let me go!" "I swear...!" "Helmut Qualtinger is an actor a mythical actor in Austria maybe seen as the best Austrian actor, at that time." "He won fame by being a fierce opponent to Nazism." "He had a very impressive show, of amazing simplicity." "He came on stage with only a book and a lectern as props." "And the book was an original edition of Mein Kampf, Hitler's book." "And at random, he opened the book and read one page, a whole page in front of an audience, totally dumbfounded to realize that a whole generation of Germans had followed the man who wrote these pages." "Please, dear boy." "I am trying to think!" "So am I, master." "So am I!" "Then try using your head instead of your heart and we might make some progress." "Here, we have the lights as I love them, kind of like La Tour's lighting with a strong contrast." "People told me, "Don't do that, it doesn't work for TV." As if my movie was for TV." "Anyway, I had to struggle with everyone to shoot this rather tough image which, in fact, with modern monitors, looks perfectly fine." "This scene, we shot it in one of the rooms of Eberbach Abbey." "This abbey had the advantage of being in certain places, not overly restored." "It's a place where they make some wine wine from the Rhine Valley and so there is mold on the walls, providing a nice patina." "Here, we have some texts reused by Umberto Eco, coming...." "Some of these texts come from Bernardo Gui originals." "For people interested in this system of questioning who want to see where the Nazis' methods came from I recommend the original Bernardo Gui's texts." "It's rather scary." "... Brother William of Baskerville." "The following scene was quite and I had some availability issues with all these people..." "And Qualtinger, here, in the middle couldn't remember his English lines very well." "At that time, I was a bit angry." "I didn't tell him." "I had great respect for him, I didn't know he was ill, and I didn't understand why I had to stop shooting because he didn't know his lines." "In this scene, of course, you have the whole cast together." "For each of them, it was, before finding them days and days of casting, of traveling, because I had several casting centers managed by several casting directors." "I had one in Germany and we often went to Berlin, Munich, Frankfurt, Cologne." "See plays, see movies." "There were not as many videos as nowadays." "I had a casting director in London, one in Paris another one in New York, one in Los Angeles, and of course one in Italy." "I spent a lot of time going to small theaters, to cabarets." "I don't deny it." "I'm proud of it!" "For the 12 years I lived here I did nothing but stuff my belly shag my wick and squeeze the hungry peasants for tithes." "Of course, such a film required three years of preparation." "Moreover, in complex moments...." "Because when you prepare there is not much money, producers don't know if they will give you the money." "There was a lot of reluctance to finance this text." "I say "this text" because the book was successful, but not many people had read it." "The detective story was rather complex." "The book was considered impossible to adapt." "I, for myself, had just made a very different movie, Quest for Fire and people said, "Annaud, he can understand these barefoot runners but he doesn't know anything about the Middle Ages."" "I had a hard time explaining that I was fascinated by the Middle Ages that I had spent eight years learning Greek, and 10 years learning Latin that I could read ancient French." "All these things seemed extremely unlikely, and we had a hard time getting financing for the movie, which at the time was expensive, and on a subject that seemed..." "It's easy in retrospect to say it was successful, the book was successful but when you are the one who is trying to make the movie, it was incredibly complex finding the money necessary to do the movie correctly." "Because, of course, you can do it faster and less good but we could do better." "I wanted a certain level of quality on several levels." "What took the most time, was to make this script to succeed in translating, in two hours 10 these 500 pages." "And to succeed in achieving a mix between that which gave the book such depth and also that which made it a popular pleasure to read which is the peculiarity of a literary masterpiece, that is to mix serious content with an entertaining form for people to enjoy reading." "... to confirm my sentence, my lord abbot." "My heart is filled with sorrow but I can find no reason to contest the just sentence of the Holy Inquisition." "And you, William of Baskerville?" "Yes." "He is guilty." "Guilty of having, in his youth misinterpreted the message of the gospels." "And he is guilty of having confused...." "The marvelous face of Lucien Bodard." "But, my lord abbot, he is innocent of the crimes...." "I want to say that I spent a lot of time working on the foreign versions." "I oversaw, for example, the dubbing into the French language and to the great surprise of my Italian, Spanish and German friends I also oversaw these three versions." "That means I am sent a voice casting I choose the voices according to tests for each of the characters." "So of course, it requires a lot of work, because there are many countries in the world." "It has been dubbed into Basque it has been dubbed into Chinese, also Japanese." "I also oversaw the Japanese voices." "I couldn't check the acting quality, of course." "But anyway, for European languages besides the original English version I travel and verify the dubbing, and ask to redo what I don't like." "Which distributors don't like, they think I'm a pain in the ass, which is true." "Adrammelech, Lucifer, I summon you, lords of hell!" "Alastor!" "Azazel!" "The shepherd has done his duty and the infected sheep must now be consigned to the purifying flames." "What I like, there, seeing Sean is that when we shot these scenes, we thought...." "I remember articles saying that I was totally mistaken when choosing an actor who was an action-movie actor of spy movies, who wouldn't have, of course the credibility required to play this character in Umberto Eco's mythical novel." " The debate is concluded." " No." "It seems Brother William of Baskerville has relapsed into the errors of which he was formerly purged." "Having sought yet again to shield a heretic from just punishment by the Inquisition he will accompany me to Avignon for confirmation of my sentence by His Holiness Pope John." "When I see these images, I notice that, even though I had some soil brought in in order to cover the ground the ground is flatter than if I'd had it made on a built set." "I would not have accepted such even ground." "At that time, the grounds were made of beaten earth and here, it's obvious that we have a concrete floor covered with earth." "On the other hand, when we are on the built set we get a realism back that we don't have on the natural sets." "The music we hear, this symphonic music is done entirely with a keyboard." "It comes straight from the computer's memory." "It was one of the first times we had such synthetic music." "When the pyres are lighted tonight let the flames purify each of us in his own heart." "It was quite a fantastic relationship between Sean Connery and young Christian Slater." "When Christian arrived, he was 15." "He was stressed and he told me, "You know I know all of Sean Connery's movies."" "And he used this English expression, "I'm struck!"" "He was totally dumbfounded impressed, shaking." "And I asked Sean to play with that." "And Sean terrorized Christian, not allowing any mistakes." "He would not accept any mistakes in a line, or in positioning." "On the other hand, I told Christian he could use his youth, his dynamism." "And he tired out Sean in the running scenes running much faster than him, leaving poor Sean breathless who often had to carry those batteries, as I mentioned earlier which I'll show in the interior scenes." "When he walks with a light source, he has to wear these batteries around the waist, weighing around 10 kilos." " It's Brother Malachia." " Malachia?" " Yes, Father, yes." " Dear God." "Not Malachia!" "Will it never end?" "Malachia." "Bernardo, William of Baskerville was right." " He said that..." " Yes!" "He knew." "Just as I, too, would have known, had I been the murderer." "Find William of Baskerville." "We still can't open the mirror!" "Perhaps by pressing the first and seventh letters...." "In these running scenes I was speaking of, after the 20th rehearsal Sean was very angry with Christian, who ran too quickly but that was in collusion with me." "And I remember that, some time ago, we were having dinner with Christian and we were laughing a lot remembering this little trick against Sean." "This is a real sunset on my set." "And here, we have Abruzzo." "As I speak, and I'm speaking a lot about the making of the movie I must bring up that before you deal with managing all the issues that arise during the shooting, there is this huge period, first of writing that can only come, in my opinion, after a period of research." "Not only did I read the book, I don't know, 50 times but after that, I had to travel to a lot of monasteries to find inspiration." "Then I read lots of books on this period, its different aspects." "So I spent almost one year not shooting any movie being kind of a student." "Then after comes the writing period." "And as I said, I wrote 17 versions of it." "It's almost another year of work." "So before coming to any issues about actors' direction, choosing the props building the sets, you have the part that's maybe the most interesting, tackling the meaning of the movie." "I must add also, that I did draw all of the images of the movie with my rather unskillful hand." "But I wanted to do it, because since everything depended on what I had visualized, or previsualized it was important to me that each department should make the elements of the sets, the props according to the axis I needed." "Each one of these images, here, I imagined them before shooting them." "I spent lots of time, that was in planes going from one casting place to another." "Going from Eberbach in the Rhine Valley, to Rome, to see my set." "In the waiting rooms, I scribbled my...." "I drew my movie which was very useful in helping me see lots of problems. "Oh, yes, this." "How is an oil lamp... ?" For example, here." "This image, it's quite simple:" ""What does an oil lamp look like?"" "So I called my wife, who is my script supervisor, and who was my liaison with all of the technical advisors, and then she would call the technical advisor who specialized in such objects to find out what an oil lamp of that time looked like." "For example, a procession, it's an easy thing to do." "But what was the order?" "Did the monks wear a hood or not?" "All these details may seem trifling but it's better to know what we are going to do before shooting the movie." "Because it has an influence on a wig issue, for example." "When Sean doesn't wear his hood it meant he had to go to makeup well in advance, because we had tonsured him but we also put some hair powder on his head in order to show he was shaved, and not bald." "It looks unimportant, but if the actor is coming 90 minutes before shooting it's important to him and he must know it the day before if the next day's scene is scheduled as being hood on, or hood off." "... pupil to turn your poisoned pages." "Not without the protection of a glove, such as I am wearing." "The door, quick!" "Before he shuts us in!" "Push!" "Stay, stay!" "Here, the staging, the choreography of the execution scene...." "I read a lot of documentation on period pictures depicting these kind of scenes." "My historical advisors, led by Le Goff, helped me, and I had Padre Arpa with me because, of course, I'm not an expert on monastic life and I needed someone to help me understand." "They are covered with pitch, as they did at that time." "Do you, Salvatore, renounce the devil and embrace Jesus Christ as your lord and savior?" "These are difficult scenes to shoot because you must shoot at dusk in order to have a sky that's not completely dark." "You see, there, the sky is still clear." "But you have but a short time, because the light fades rapidly and generally...." "Here you see, the sky is dark." "I see it, but I guess that with the action, you don't see it." "Still, it's better to have continuity in the background." "It's always a problem when you shoot at that time of the day." "You generally have half an hour to shoot five or six shots when you would in fact need between five and six hours." "You always have panic moments." "Laughter kills fear." "And without fear, there can be no faith." "Because without fear of the devil, there is no more need of God." "But you will not eliminate laughter by eliminating that book." "No, to be sure." "Laughter will remain the common man's recreation." "But what will happen if, because of this book learned men were to pronounce it permissible to laugh at everything?" "Can we laugh at God?" "The world would relapse into chaos." "Therefore, I seal that...." "With this marvelous actor, who is the son...." "He was 82 years old when he shot with me." "He had...." "Eventually he had a wonderful end to his life, because till he died, he was shooting important parts." "He is great, my buddy Ron Perlman." "Here, we are in the fire scene exterior." "The big problem is, the day we shot that...." "It's always like this, in movies." "The wind that always blew in the right direction blew in the opposite direction and all of these shots, with these gigantic flames burned the special effects people who were behind." "It seems incredible, but it's true." "You destroy the set, and nobody tells you not to shoot, because no one dares to say it." "When I realized that the shot was right in front of me I ran to turn on one of the cameras which allowed me to have enough material to edit the scene." "Please, God, save him." "Here, we have the real staircases that collapse." "Hold them back." "Burn the witch!" "You dare raise your hands to the church?" "Come!" "Here, for such a scene, I had, as I said, seven cameras." "Here, the flames you see above, were actually much higher than that they were indeed gigantic, but the wind blew, as I said, in the wrong direction." "Same here, the flames were designed to be three times higher." "No!" "You're not going to leave!" "All of this is your doing!" "My master found the true murderer!" "All of these fire scenes were shot in one night because, here again, there were a lot of extras and the fire scenes are very expensive, because of the fuel and butane which are very expensive." "So I did everything with cameras set in various places and seven cameramen." "I was, of course, near the two main cameras but the other shots...." "Not this, this was made afterwards and it was in fact the last shot of the movie, this one." "The last I shot." "Help me!" "No!" "No, no!" "This is a torture machine that existed at that time." "These are stolen shots, which means that after a few minutes, when the fire has grown just after the actors do the main scene you have some moments captured by additional cameras like the shot with the monks waving their arms." "All of this is rehearsed but when it's on, it's on, and you cannot really do it again." "Sean wasn't very happy with these rats." "I remember one of them had climbed all along his leg had grabbed the fabric and gone inside." "I must have an outtake somewhere in which you can see Sean Connery jumping trying to get rid of this rat." "Here, the set has been transformed." "It was designed like that, of course, to be able to cut off the top of the tower so that it gave the feeling it had been destroyed by fire." "I had to control the fog density, that was pretty annoying." "Here is what I mentioned, this set the top was designed to be dismantled." "And, here, I'm in an environment of artificial snow for this very but you must put the snow in at the last moment in order to have the feeling of really fresh snow." "And then the density of the smoke escaping from the donjon...." "All of this is difficult to tackle when you are on-stage." "The fog issues are usually what requires the most time, when, of course, you have to deal with the acting of the cast." "But you're often disturbed by these material issues and thus, it's sometimes difficult to concentrate on what's essential." "That's what you learn after some years of directing it's that you must ignore the material issues." "You must resist and concentrate on what is important." "One thing, about this movie, it's that I must have shot it in 14 weeks." "We have more than 1000 shots, and it was very complicated to make it in such a short time, and so I made a choice, and it becomes an aesthetic choice to have few movements the camera often being set up and very rarely traveling." "Here, for example, I'm set up and I make a long zoom out." "Which gives a specific tone to the movie." "It's a film more established more studied than other movies I did before or after, in which, on the contrary I had more freedom with the camera." "It mainly comes that for interior shots in order to have an uncomplicated lighting setup we had to do them from a fixed perspective." "This is an image done with doubles in this beautiful setting of Abruzzo, which is a national park, near Rome." "And yet, now that I am an old, old man I must confess that of all the faces that appear to me out of the past the one I see most clearly is that of the girl of whom I've never ceased to dream these many long years." "She was the only earthly love of my life yet I never knew nor ever learned her name." "Here, we have these never-ending credits, because such a movie requires the collaboration of a lot of people." "You have the historical advisor and the various advisors under him in the various specialized areas I needed." "The final storyboard was made by Norbert Iborra who also worked on storyboards on The Bear and who worked from my drawings and storyboarded all of the movie, the 1000 images that was bound in a document and handed over to the whole crew." "The day before the shooting, my copy was stolen." "Some autograph hunters arrived in a coach and stole this document in which I also had reproductions of paintings I used for inspiration." "And unfortunately, this document was stolen." "We had quite a lot of thefts on the movie, which is very often the case." "Here, we are with the people in charge of the music." "Again on this movie, it was different, but very often, we have to deal with impressive orchestras with hundreds of musicians." "Here, the stuntmen didn't play a very important part on this film." "On the other hand the people you see here, painters, sculptors are people I worked with a lot with, of course, help from Dante Ferretti." "But they were people whose work I oversaw, at least once a week in Cinecittà workshops." "In fact, when you shoot such a film, you have to travel a lot and spend a lot of time away from home." "I spent more or less a year and a half in Munich, where I did pre- and postproduction and six months in Rome." "I must say that I was very sorry not to be able to shoot this in France but I had a lot of problems with the producers one of whom had been murdered." "On this sad note...." "I am speaking of Gérard Lebovici, whose death has been widely talked about." "I've looked with you, with joy, at a movie that I had not seen for a while and that was a slice of my life." "So, thank you, and see you for the next one."