"Me and... a program by Anna Zanoli" "directed by Paolo Brunatto" "Pasolini and..."a form of a town"" "I chose a town, Orte as a town that is I've actually selected a form of a town as a subject, a profile of a town." "Well, this is what I'd like to say, first I've taken a shot to frame only Orte as a town in its stylistic perfection, that is as a perfect and absolute form, and the shot is like that more or less well, it's enough I only move this thing on the camera and here's how the town's form, its profile, its architectural mass is cracked, destroyed and disfigured by something foreign." "There's that house on the left, can you see it?" "Well, this is a problem I'm talking with you about because I cannot speak in the abstract, oriented towards a void or a TV audience ignoring where they're or stay, so I'm talking with you who have been following me during all of my works and you've been noticing me facing such a problem many times." "Do you remember how many times we went to shoot outside of Italy, in Morocco, in Persia, in Eritrea, and I often had a problem when shooting a scene including a town as a whole, in its entirety and how many times you saw me suffering, hankering and swearing because that design, that absolute pureness of a town's form was destroyed by something modern, by some foreign body which had nothing to do with that town's form, with that town's profile I chose." "We're now in front of Orte from another point of view, there's the usual blue-brown mist typical of the great Nordic painting of Renaissance." "If I frame it, I can see a whole even more perfect than the previous one, that is the town's form appears really in its greatest perfection but, if I shot a panoramic view from left to right, what I told you earlier appears in a way more and more severe." "Infact the town, from this point of view on the far right, ends by an amazing aqueduct on that brown land, and immediately close to the aqueduct there're other modern houses, not horrible looking, I say, but extremely mediocre, poor, with no imagination, with no invention, a popular housing, which is absolutely needed for sure, but, being located there, it's another disturbing element against the perfection of Orte town's form, as well as the housing we've watched before." "Well, what does disturb me so much?" "Or rather what does cause me almost a kind of sorrow, injure or anger, I'd say, maybe the presence of those poor popular houses?" "They had to be builded anyway, but the question was to build them elsewhere, in short, to plan their potential construction elsewhere...well, what does offend me about them?" "It's the fact that those houses belong to another world, they have got stylistic features totally different from the ones of the ancient town of Orte and the mixture between these two things is disturbing." "It's a crack, a disturbance of form and style." "Perhaps I'm suffering such a thing in a particular way not only because I've got an aesthetic sense maybe exaggerate, excessive, like a candid soul, but also because I worked a lot on some historical movies where this was actually a practical problem, because this is not only an Italian fault but it's typical of all the countries worldwide, especially into the Third World I don't know...for example in Persia, where there's a regime totally different from ours, where there's a kind of emperor, the Shah, the same things are happening there, maybe even worse, for example, an amazing town called Yazd comes to my mind, it's located on the Persian gulf, close to the desert, a wonderful town because all the towns had an ancient ventilation system dating back to two or three thousands of years ago, which was kept intact, some little colums collecting and injecting wind into the town, so this kind of ventilators overtopped the town's profile, they looked like a bit some Greek or Egyptian archaic little temples I know it was a stunning thing, well, this town, when I came there, was destroyed just like if a carpet bombing had occurred, the Shah ordered to destroy it to show his subjects, his people that Persia was a modern country, in progress, etc., but this also happens in countries which are exactly the opposite of Persia, that is in communist countries...the state of South Aden, the state of Aden, where even a group of Al-Mukalla, this town of Al-Mukalla had an amazing gate towards the mainland, a gigantic one, made of granite, white as well as everything else in the town, well, since also in Al-Mukalla traffic has increased a bit, after the liberation of the state of Aden from emirs, etc., there were some vans in addition and the gate was narrow, so what did they do?" "They blew up it and they were proud they had blown up this amazing gate, they even told so very proudly that revolution relieved Al-Mukalla of this encumbrance from the past." "Not to mention Sana'a, do you remember that marvellous town of North Yemen, staid on desert, a kind of rustic Venice, which they are already destroying, they have already completed the destruction of all the walls surrounding it and thus giving its form that stupendous absoluteness typical of the ancient towns..." "...or in Nepal, which is actually still intact, especially the town of Bagdaon is still almost as it was three thousands of years ago but Kathmandu has been already actually destroyed as to a form, monuments remain but we are not dealing with monuments, this is not the question, it's easy to save them, on the contrary it's hard to save the whole form of a town." "Thus, this is a problem to face worldwide, but of course what's upsetting and hurting me more is the fact this happens in Italy." "Well, I'd like to add a thing about the town of Orte." "Choosing a town's form as a subject, I'd like to clarify that a town's form shows itself, appears, reveals if compared with a natural background." "For example, actually Orte's form appears this way because, on the top of this brown hill, devoured by autumn, with this blue mist in the front, it stands out against a grey sky." "Well, what can those above mentioned popular houses upset?" "They mostly can upset the relationship between town's form and nature." "Well, the problem of a town's form and the problem of saving nature surrounding a town are actually an unique problem." "But it's always actual the problem of respecting a natural border between a town's form and a surrounding nature." "Well, the situation of Orte is still amazing, look at it, the overview is still actually perfect, apart that even painful defect I mentioned, but, while we can only talk about a light damage of views for Orte, the general situation of Italy, of towns' forms in Italy, is definitely irreparable and catastrophic on the contrary." "This road we'are walking through, with this irregular and ancient paving, is not a great thing, it's almost nothing, a humble thing, it cannot even be compared with some amazing works of art of the Italian tradition, nevertheless I think that this humble and poor little road must be defended with the same tenacity, with the same goodwill, with the same rigours one uses to defend the great works of art." "Exactly as well as the anonymous legacy of popular poetry must be defended in the same way poetry by great authors such as Dante, Petrarca, etc., is preserved." "Similarly that point this road leads us to, that ancient gate of Orte, it's almost nothing too, can you see it?" "There're some simple walls, some bastions, coloured by a neutral grey, which nobody actually should fight to defend with rigours and I chose to defend just this thing on the contrary." "When I'm telling you I've chosen as a subject of this program a town's form, a town's structure, a town's profile, I actually mean this:" "I want to defend something which is not sanctioned, codified, which nobody uses to protect, something which is a work by people, so to say, made along the whole history of a town, by masses of nameless men but who worked inside a period which later generated extreme and absolute fruits such as the works of art." "Well, that thing doesn't use to be felt, because everyone you're talking together with immediately agrees with you about the need of defending a work of art, a monument, a church, the facade of a church, a bell tower, a bridge, a ruin whose historical value is already proved, but nobody realizes that what must be protected is just this anonymous past, this nameless past, this popular past." "Here we are in front of a structure, a form, a profile of another town, immersed in a kind of grey lagoon light, even if there's a marvellous surrounding Mediterranean scrub, here's Sabaudia." "How long as intellectuals we have been laughing at the regime's architecture, at towns like Sabaudia, but now, watching this town, we're having an unexpected feeling, its architecture has nothing irreal, ridiculous process of time gave this architecture of "littorio" style a quality between the metaphysical and the realistic, so to say, metaphysical in a really European meaning of the word, that is it recalls, so to say, De Chirico's metaphysical painting, and realistic because, even watched from afar, you can feel the town was built for people, as one uses to say a bit rhetorically, you can feel... that families have been created inside it regularly by complete, serious and fulfilled human beings along with their humility." "How can be explained a miraculous event like that?" "Why does a ridiculous fascist town appear suddenly so enchanting to us?" "We need to investigate the thing a bit, that is Sabaudia was created by the regime, there's no doubt about it, but it has nothing actually fascist, apart from some exterior characteristics." "So I'm thinking this...that fascism, the fascist regime was in short nothing but a group of criminals who had the power, and this group of criminals who had the power couldn't do actually anything, they couldn't affect or even barely weigh on reality in Italy, so Sabaudia, even if built by the regime according to some criteria based on rationalism, aestheticism and academy, it doesn't find its roots into the regime which created it, but it finds its roots into that reality which fascism ruled tyrannically without being able to affect it, that is it's the reality of that provincial, rural, palaeo-industrial Italy, etc., which did create Sabaudia, not fascism." "Instead now the opposite is happening." "The regime is a democratic regime, etc., but that cultivation, those approved standards, which fascism couldn't get at all, instead the nowadays power, that is the power of consumerism is perfectly successful in doing it, destroying the different peculiar realities, taking reality away from the various ways of being human communities which Italy has been producing in a very differentiated way over the centuries." "So this cultivation is destroying actually Italy and thus I can say certainly that the real fascism is just this power of consumerism which is destroying Italy..." "And this thing has happened so quickly that we didn't realized it after all, everything has been occurring during these last five, six, seven, ten years, it has been a kind of nightmare during which we have been seeing around us Italy destroyed and disappear, now, maybe awakening from this nightmare and looking around, we realize that there's nothing we can do anymore." "fansubbed by quidtum for surrealmoviez  karagarga"