"Hi, I'm Mike Baronas from Paura Productions." "I'm here with..." "Art Ettinger from "Ultra Violent Magazine."" "Mark Murray from Cult Collectibles." "And we are here with..." "Claudio Simonetti, musician." "Lamberto Bava, director." "Geretta Giancarlo, as known as Geretta Geretta." "Rosemary in the film." "Sergio Stivaletti, special effects." "The first scene is in a subway." "This was in Germany, wasn't it?" "Yes, the film in set in Berlin, Germany." "And, of course, back in those days, the city of Berlin was surrounded by an empire... of a completely different political belief." "The film does represent this, but in a very hidden way." "This is something I've said now, and I'll say it again at the end." "I'd like to say something about the music in the film." "This was the middle of the 1980s." "Electronic and dance music was very popular back then." "And so..." "I decided to write a score that had typical dance-music sounds and which had tribal elements in it." "There, for the first time, the man with the metal face." "The man with the metal face is very important in the film because it's the first image that lets you know something is going to happen." "Where did the story of "Demons" come from?" "How did you come up with the idea of the man with the mask?" "The script for "Demons" took many months to write because every single aspect was thought about many times." "Dario Argento was also involved in writing it, but he was principally the producer." "At that time, Dario had, and I think he still has, this incredible ability to identify and choose what would work and what wouldn't work." "I worked on the script with Dardano Sacchetti and Ferrini." "I would meet with them, and they did the actual writing, and then we'd meet Dario." "Dario would then say, "Not this, not this, not this."" "And so, by working on the film in this way, we tried to..." "We really tried to work..." "We worked a lot to come up with this version." "This silence..." "Apart from Simonetti's music, a huge amount of attention was paid to the sound effects in this film." "For example, the sound of the subway leaving, which is a screeching, grating, annoying sound." "Now, for the second time, we have the appearance of..." "In one moment." "The man with the mask." "Here." "Look at his clothes and the noise he makes." "It's a little..." "I can't tell you." "It would be too easy." "But the man with the mask has something to do with the Demiurge." "And perhaps even something to do with the devil." "He's the one who decides how people get into the theater, which in this film is hell." "We can imagine that in some way he is linked to Dante Alighieri's "Inferno"..." ""Abandon all hope, ye who enter here,"" "from the "Divine Comedy."" "Let's talk about her..." "Natasha Hovey." "She was an American actress who was in another famous movie." "Why did you choose her for the part?" "I chose her because I needed a girl with an innocent face." "That was the reason." "She also had acted before." "I think she had done a few films." "But it was primarily for her girl-next-door look, the polite, good girl." "She had acted in "Soap and Water" for precisely those reasons." "Yes, that film that was a sort of comedy drama." "Can I say something about the mask?" "Lamberto asked for this kind of makeup." "And clearly we thought about the mask in relation to the other masks that appear later in the movie." "In some ways this one had to resemble the masks we see later." "It was attached to his face with glue, and then we applied gelatin around the edges to make it look like the skin had grown over the edge of the mask, as though it had become part of the face." "I'd like to add something here." "The man wearing the mask is Michele Soavi." " Of course." " He's a famous director." " Now." " Yes." "Not back then." "He was my assistant, and he was also an actor." "It was thanks to Michele Soavi that I met Sergio Stivaletti." "I was making a music video for the song "Demons,"" "and Michele brought along Sergio to do the makeup on the video, which was directed by Michele Soavi, the man with the mask." "It's an interesting bit of trivia for those who didn't know it was Michele." "Later on, I worked again with Michele on a film he directed." "It was great to see him again after having known him as Lamberto's assistant director." "Here, this is the movie's other main character." "Two friends who meet up and go to the cinema." "They have the tickets from the man with the mask." "Was the mask an homage to your father's movie?" "No." "That mask wasn't." "But the one you see now was." "It's no coincidence that the cinema they go to is in Germany and is called "Metropol"..." "A name taken from a very old movie." "Let's not forget that the first horror movies were made in Germany in the early 20th century..." "Directors like Murnau and Dreyer, movies like "Nosferatu."" "So there is this reference." "The theater is also very run-down." " Did it really exist?" " Yes, it did." "But it was a theater out of our imaginations, because already back then, a cinema with wooden seats was almost unthinkable." "But it was perfect for this film." "Here we see the cinema." " So, the cinema was really like that?" " No, it wasn't really a cinema." "The exterior of the cinema was really a hotel, and the interiors were shot in a cinema." "Where were these exteriors shot?" "Germany or..." "Yes, this is Germany." "Berlin." "West Berlin, because at that time you could go to East Germany on the subway." "Where were the cinema interiors shot?" "We shot those in Rome." "The exteriors were all shot in Germany." " Berlin." " Does this hotel still exist?" "I haven't got a clue." "But it wasn't called Metropol." "We put the signs there." " Ah, I see!" " It was part of the scenography." "We found a building we liked, which was a hotel." "It was a bit run-down, but that's what we needed." "It reminded us of German cinema from the early 20th century, the birth of horror films." "This cinema interior was shot in a real cinema in Rome." "We also added a lot of scenography to this." "We put the interesting posters on the walls." "How long did it take to shoot the film?" "This girl here, Nicoletta Elmi, made her first film with my father when she was five, called "Twitch of the Death Nerve."" "Then she was the famous girl in Dario Argento's "Deep Red."" "I also saw an homage to Dario..." "The "Four Flies on Grey Velvet" poster on the wall." "The mask you see in the hand of the Samurai on the Japanese motorcycle is an homage to "Black Sunday,"" "one of my father's films, also known as "The Mask of Satan."" "How many weeks did it take to shoot the movie?" "I think it took eight weeks or slightly more." "It's not a film that today would be considered a big-budget production." "But today in Italy, it would be great to have the budget we had on "Demons" to make a film." "There was just enough money to produce a well-made film, as well as the desire to make it." "The film also has a certain amount of sarcasm in it..." "A blind man going to the cinema!" "As you can see for yourself." "But the blind man knows something is going to happen after he touches the mask." "And something does happen." " That's me!" " Here we see for the first time these very nice characters!" "Thank you!" "That's Geretta with the red pants." "The other two are Fabiola Toledo and Bobby Rhodes." "He plays their pimp." "The famous pimp." "That's the famous mask that she placed over her face." "What had to happen has now happened." " Is this a real cinema or a set?" " No, all of the cinema is real." " In Rome?" " Yes, a real cinema in Rome." "It was a cinema that had been shut down for some time." "It had these wooden seats." "It was perfect for us because it had a run-down look to it." "How many masks did you have to make, Sergio?" "Here are the two protagonists." "Urbano Barberini..." "He, too, had one of those clean, innocent faces." "How many masks were made for the film?" "We made two different types of mask." "We see the two versions..." "The older-style one we see in a while and the more modern one we saw in the lobby." "This film within the film is very important, because what happens in our film..." "I won't spoil it, but we already know." "These youths go to a run-down church." "In fact, it's an abandoned city." "And everyone will understand what happens in the film." "Isn't the red-haired girl another of Dario's daughters?" " It's Fiorella, isn't it?" " Fiore Argento." "Yes." "Yes, there is Fiore, and also Asia as a little girl." "Not in this movie." "In "Demons 2."" "If we're talking about the "Demons" series." "She's another ambiguous character in it." "I never noticed her sexy dress before." "It's open at the side so that we can see her skin." "I never noticed that before." "See, when musicians aren't playing, they're looking!" "Of course, who doesn't?" "I must say, Lamberto, your choice of girls in your films is always great." "Claudio, did you write the music before or after seeing the film?" "No, I saw the film first." "That's how it always works." "I watch the film and write the music over it." "That's how I did the score for this film as well." "I nearly always use the same actors in more than just one film." "I made three or four films with the girl in the light-colored shoes." "We shot the last one together last year, so she's a lady now!" "Here is some trivia for music lovers." "That guy in the film is Domenico Modugno's son." " One of Domenico Modugno's sons." " Modugno, the singer of "Volare."" " Mister Volare." " The son of Mister Volare." "I remember him." "He was very nice." "That actor is in one of your father's films, isn't he?" "Yes, Stelio Candelli." "He starred in "Planet of the Vampires."" "I can't remember what it was called in English." "It was my first film as assistant director." "Claudio, whose idea was it to use rock music?" "The type of music used in the film." "The film has my original score, which I wrote for it, and then other songs were used on the soundtrack:" "Billy Idol, Mötley Crüe, Rick Springfield, and Go West." " All popular music at the time." " The Scorpions." "Rock music." "A lot of heavy rock." "We used these popular songs as background music, not as narrative music." "We really liked the idea of merging the two films, like in cinema itself..." "What's true and what isn't." "It's great watching it again after all these years." "When did we shoot it, 1985?" "Yes, in 1985." "No, maybe it was the end of 1984." "I don't remember." "It was so long ago." "It's a movie that one..." " ...has to watch with the sound." " Here's a close-up of me." " Because without the sound..." " That's true." "We were so young back then." "Even back then, you couldn't smoke in the cinema." "They aren't bothered." " I can't smoke anywhere now!" " And rightly so." "I'd like to know something..." "How do you manage to stay the same?" "You and Bob, you're the same as back then." "You've stayed the same, it's true." " We never age." " No." "Now we're going..." "They're looking for a mask, too, isn't that right?" "They know that a long time ago in that church people had found some evidence of Nostradamus." "So we're dealing with something involving prophecies and the possibility... of knowing something that is unknowable." "If I remember correctly, she was a photographic model." "Yes, I think so." "A photographic model." "I never asked you, Lamberto, how did you hear about me?" "How did you cast me?" "Did you hear about me or did you see a photograph?" " Do you remember, Lamberto?" " My assistants always helped me cast." "They would call agents and get photos." "Then, from the photographs, they would make a selection." "This movie has a lot of characters, so it took some time to make a selection." "Then I would meet a short list of people and choose." "Well, thank you." "Originally, I wanted you to play the blind guy." "Really?" "Now..." "They're watching the film, ignorant of what's going to happen." "But in the film they're watching..." "It's no coincidence that there's an "N" on the coffin." ""N" for Nostradamus." "Exactly." "The classic spider webs found in genre movies." "Here, the score is all electronic keyboard." "It's a very suspenseful music." "In theory, that music is from the film they're watching, not from the film "Demons."" "So there's a double soundtrack." "Were there any promotional gimmicks before the movie to let the moviegoers think that something could happen in the cinema?" "Some kind of special publicity campaign?" "They were each given a ticket by a man in a mask." "Now it begins to..." "Naturally he tries, using fear as an excuse..." " ...to pick up the girl." " Boys will be boys!" "But for the moment, he's not getting anywhere." "I really like the choice of two actors with international faces." "You'd never know if they were Italian or not." "It definitely isn't a provincial film." "It could have been made anywhere in the world..." "America, Germany..." "Look at what they find." "Now it begins." "This is the book of Nostradamus' prophecies." "The book from the poster." "Lamberto asked me to draw the mask, and then we put it into this book." "We made the masks based on this drawing." "In my opinion, the success of the mask, which is considered a cult movie object, is due to the eyes looking like some sort of cage, as though something is imprisoned behind it." "It immediately reminds you of a prison." " As though imprisoned inside..." " Anticipating the eyes of "Opera."" ""Whoever wears the mask becomes a demon."" "They're laughing because she was cut when she put the mask on." "These are the first hints that what's happening in the film is also happening in reality." "I never noticed that he gets cut at the same moment I got cut in the earlier scene." "Actually, this is the first time I've seen the film since it was made." "Because actors only ever watch themselves." "Now, look." "Look!" "Now it begins." "Maybe Michele never realized you had cut yourself either." "Because the director is always the director." "They really do still look the same." "If this scene was reshot now, it would be the same." "Yes." "My hair is more or less the same now, too." "Bobby Rhodes even has the same jacket." "It's true." "I made another movie with Fabiola, as well." "She was a pretty girl, but she never did anything after this." "No." "I think she got married and had a family." "Watch." "This is important." "Yes, this bit." "We always used a lot of curtains, because behind curtains, besides the tension, there is always the possibility that something can happen." "This is one of the most important scenes in the film." " Here it begins to..." " I remember this day." "It wasn't easy to create this effect, but it was a good day." "I think we did only three takes." "Whether we did 3 takes or 18, I really can't remember." "No, I don't mean it was quick." "It wasn't quick." "It was well thought out and prepared." "This film was very well prepared from the script to the shoot." "Here, look at this." "This bit had to be really disgusting." " I think it still works well today." " Definitely." "From the moment something happens in the film, the violence begins." "Even the head hitting the ground back then..." "Sergio, how did you do that so hard without hurting his head?" " I'll tell you, you rewind it." " Ah, backwards." "Like Gabriele Lavia's head in "Deep Red."" "Under the car." "I think what exploded out of my face was made of milk," "Alka-Seltzer, and green paint." "Green ink." "A film within another film is always fascinating." "The screen behind the screen." "These are the more conventional characters." "They're a bit..." " I like him." "He's the violent type." " Exactly." "I wanted to say that all the characters in the film are clearly somewhat over the top, also in the way they act, especially from here onward, because none of them are completely innocent." "Everyone that went inside has something to pay for." " It's a bit like the circles of hell." " Exactly." "Wasn't this your first big project, Sergio?" "You were very young." "Were you intimidated or scared at all?" "Yes." "I had just made "Phenomena."" "This was the first time I was responsible for a project that required so many special effects." "Here's the first time we see someone transform into a demon." "This is what we wanted a transformation to look like." "The music here is great." "It links everything perfectly from one scene to another." "This is the claustrophobic feeling of being between the curtains, something which I also suffer from." "She can hardly get out, and when she gets out..." "Her throat is fantastic!" "Brilliant effects." "A lot of that was Rosario's work." "Yes, Rosario Prestopino, the makeup artist." "My best effect is coming up shortly." "The best effect in the movie." "I mean, the best of my effects." "Did you shoot the film they're watching before or..." "The film they're watching was made at the beginning of the shoot." "It was shot like a film and edited and put into the projector in the cinema." "We did that at the start of the shoot." "Look." "You can see here..." "It's very satisfying." "When we shot this, they were watching the film." " It wasn't inserted afterwards." " No, how could it have been?" "Today it would be done by green screen." "Yes, but it always looks sterile." "Look, this one is now a real demon." "Geretta, I have to say that with the demon makeup on," "I find you even more beautiful." "Horrifically sexy." "You should go out like that every morning." "Take advantage of Sergio." "He can do your makeup." "I'll do it every morning if you want." " Who's this?" "An actor..." " Yes, a theater actor." "We made sure to choose actors suited for the roles they had to play, that their facial features corresponded to the characters' souls." "The moviegoers here all enjoy what they are doing." "For me, this is now one of the best scenes in "Demons."" "I've always been very proud of this scene." "The cinema screen, which is always fascinating, and seen from behind, it is even more beautiful." "Like you've entered into something and are looking at it from the inside." " Is this in the same cinema?" " Yes." "It's rare to find a cinema with a wall behind the screen." "The main reason why we chose this theater was because it had two balconies and a lot of stairs." " It was perfect." " And all that room behind the screen." "That's why we used it." "Did you ever think to make the film that they are watching?" "Using that storyline in another film?" "No, but it's something that perhaps I could do." "Those close-up shots aren't of the actresses." "They're fake necks made specifically for these effects." "You mean that stuff wasn't really inside the actors!" "The actor we just saw, Karl Zinny, is another actor I really like." "I made three or four films with him." "Isn't he the nephew of a very famous actress?" "No, he's the son of Veronica Zinny, who acted in Buñuel's "Viridiana."" "His father is a famous actor, too..." "Or rather his stepfather, the famous Italian actor Remo Girone." "The knife cutting the tent is great." "On-screen, yes." "Even today, this scene is still fantastic." "Was this a real screen or just a big curtain?" "Well, we hung a screen there." "It was real." " So, it was real?" " Yes." "Screens today are more sophisticated." "Back then, they were like big sheets." "Hold on a second." "For me, this is Sergio Stivaletti's best-ever effect..." "The transformation of Fabiola Toledo." "Because you don't..." "Let's watch it." "I haven't seen it in years." "The other shot is also very wicked..." "The two of them being choked." "These demons have a sense of justice." "It's something clear in the film." "Whoever is bad..." "The characters on the screen have become demons, too." "In the film, as well." "Did you have problems with any of the actors, Sergio?" " Doing the special effects with them?" " No, but..." " Look, now." " First let's talk about this." "This hand was inspired by "An American Werewolf in London,"" "with some big changes to it." "I managed to make it with fingers that break." "I want to point out that this is one of Sergio's best-ever effects." "The teeth." "No, all of her." "We had to take a mold of the actress." "We made an animatronic head that could do what we wanted." "This is what you were talking about." "The face we see here is nearly always the fake one." "It was the model, not her real face." "We had parts inside that we could control to move the face." "I would pull wires to make the new teeth go down, and they pushed out the normal teeth, giving her fangs." "Another aspect of the script that we thought about a lot was..." "Remember that Dario Argento had produced "Dawn of the Dead,"" "the famous George A. Romero film." "So, when we began to discuss "Demons,"" "there was a particular requirement." "The demons had to be completely different from zombies." "They didn't have to resemble them at all." "In fact, the demons seem like they're under the effects of drugs..." "They're hyper-excited and they run around like crazy." "They are completely different characters." " This is Geretta." " Yes, I'm not a zombie." "I'm a demon." "And what's more, you know exactly what you're doing." "The demons are hyper-excited, and they enjoy what they do." "When you're making a film, some things indicate to you whether it's going to be good." "One of those things is how the cast follows you." "I don't mean the intelligent actors in the cast who can use their talent and creativity in making the film." "And when you see that every single actor is following you." "For example, in this scene, there were some actors but they were mostly extras, and they really loved shooting this scene." "Yes, I remember." "There was a fantastic feeling on set..." "The crew, the actors, the extras, everyone." "This is what I was talking about yesterday." "All these scenes now were shot by getting the actors to run all over the theater, six different stairwells." "After all the effort they put in, they couldn't even speak because they had to run so much, which worked well because it looked like they were afraid." "Some even had high heels." "Up and down, up and down." "I was in this scene, and it was actually quite disturbing." "It really affected me when I find her and I kill her." "It was too demonic for me." "I remember we had to have a 5-minute set break so that I could calm down." "It is a very powerful scene." "Yes." "Geretta was the most evil." "She has the right look for it." "I really like this, too." "It's very evil." "I really like this shot..." "Him on one side, me on the other." "And then my hand." "This is fantastic." "Thanks to Sergio, it wasn't my real hand." "You know, I didn't think we were gonna make it." "It's the movie!" "What about the movie?" "I don't know how to explain it." "It's just a feeling." "The movie's to blame for all this." "Lamberto, when you were writing the script, did you plan on having these moments of action and calm, action and calm from the very beginning or did that come to you when you were filming?" "No." "When you are shooting a film set in just one location, you have to be careful of certain things." "Something always has to be happening so that you don't get bored by the location." "You can never let the tension drop." "But at the same time, a single location can be used to give a strong sense of claustrophobia." "Something we thought about a lot was that this location, this cinema, is in some ways organic." "If you notice, there are always drops on the walls and other things." "In the film, it seems that the cinema is transforming." "It's another theory that I like a lot..." "Objects or buildings that have a life of their own." "We'll also see in a while that at a certain point..." "As I already said, we worked on the script a lot." "We knew that at a certain point we would have to leave the cinema." "But we didn't know how to do this." "When we came up with the idea, many people thought it was too much, but for me it was the only possible way." "We'll see that a bit later on." "I love how at the beginning" "Nicoletta Elmi appears to be involved in this witchcraft because of her mysterious face, then, at the end, she too is a victim." "Yes, but in the end she ends up like the rest of them." "But earlier on, she appeared to be..." "This is something else I really like..." "The scene with the projector and the film stock." "Our livelihood!" " The heart of the cinema." " The heart of the cinema." "It's not by chance that so many directors are affectionate to these machines." " Was that a real projector?" " Yes, some of them are real." "Some real control panels, too." "They had to be reinstalled..." ""Demons" is very popular in the USA and all around the world, but was it so famous in Italy when it was released or did it become famous later?" "No, "Demons" was very successful when it was released." "I'll tell you a story." "I remember when it was released in Rome, and apart from everything else," "I had my 4-month-old son with me in a push buggy." "The film was being released in four or five cinemas in Rome, which was a lot back then." "And they were good cinemas." "I remember the day we went to the last cinema, the Embassy, which is still there today, and since it was the first film in Dolby Stereo, we had to check the Dolby Stereo system and see if the speakers were all working correctly" "and whether the projectors were correctly calibrated." "Because sometimes films weren't properly projected, which isn't right." "So, we had to check all these things." "After we had checked the speakers, we were running late, and when we went back into the lobby, the film was due to start 45 minutes later." "I was shocked, because outside the cinema door, 200-300 young people were lined up waiting to get in." "It was very emotional seeing that on the film's opening night." ""Demons" was very successful in Italy." " It did well at the box office." " The soundtrack also sold very well." "It was released by RCA, one of the big record labels at the time." "Here, one of the songs we used is on the radio in the background." "Here we're now outside." "During the scriptwriting, we felt the need to bring the action outside the cinema every so often." "By going outside, it suggested that those on the outside might be able to help those in the cinema to get out, but instead they end up inside, too, because they are also guilty." " Are those actors German?" " No, they're..." " Italian?" " No, they're..." "There are actors..." "International actors." "Also, with them, I chose actors with different characteristics." "I wanted to use actors that had a punk or hippie look to them." "At that time, the first punks were appearing." "That's how we were." "Here Bobby is becoming... sort of the leader of the others because he's more..." " Of a leader." " Exactly." "He begins to understand that whomever gets scratched becomes a demon, so they have to get rid of them." "No, don't go!" "I'm scared!" "No!" "No!" "No!" " Please!" " Give me a hand." "One of you take her legs and help me throw her over the edge." "What are you waiting for, you son of a..." "Is Urbano Barberini still an actor?" "Yes, he still works a lot in the theater." " He was an aristocrat." " Yes, the Barberini family." "In fact, he didn't act in "Demons 2,"" "although he later returned to acting, but at the time we wanted him for "Demons 2,"" "and he didn't do it because, due to his family name, he was destined... to become someone important in the..." "The Barberini Family?" "No, not in the Barberini Family." "I don't know what it's called." "He had to become a Maltese Knight or something like that." "And a Maltese Knight couldn't make films." "After saying no to two or three films, he was desperate and said," ""Who cares?" "I want to work in the cinema and be an actor."" "Here are the guys in the car." "This is Berlin as it was, West Berlin." "Is this the famous Coca-Cola product-placement scene?" " Did Coca-Cola sponsor it?" " No." "H's a pity." "We chose West Berlin because back then it was one of the European cities with the best nighttime lighting." "The lighting in this scene was shot exactly as it was in reality." "The only film I've seen without Coca-Cola was "Gladiator."" "The cord!" "We have to undo the cord!" "That's how that guy got up here." "Hey, kid." "Don't undo it." "Cut it." "This is like a passing-of-the-torch scene..." "One character giving another character..." "Yes, now they're starting to barricade themselves and defend themselves." "There he is now." "He's next." "Give me the knife!" "Give me the knife!" "Sally has already become a type-2 demon." " Yes." " It has to be said." "She has the teeth." "We planned out the various transformations of the demons..." "Type-1, type-2, type-3..." "And by that stage, they have evolved so much that they are not human anymore." "This is Fiore Argento." " She was 16 at the time." " 16 or 17." "Maybe even less." "16, I think." "For a while, she wanted to be an actress." "She was also in "Phenomena."" "Yes, but then I think she became a fashion designer." "She also spent a long time in America." "I don't know what happened to this boy." "Who was he?" "A young actor we chose for the part." "He was another one of those fresh-faced boys." "This is Berlin again." "Perhaps the only clue as to when the film was made are the cars on the streets of Berlin." "Apart from that, it could have been made in recent years." "It's also a bit of a badass film." "Back then it was rare to see people sniffing coke in films." "My turn." "Why?" "It's my can, shithead." "Give me the can, you jerk." "There are also some nice stories." "This girl, Bettina, ended up marrying Karl Zinny." "And they're still married." "I remember well, they fell in love on the set." " Yes, and they're still together." " How nice." "Karl Zinny plays the second guy." " Him." " Him." " So, she is his wife?" " Yes." "Did you really destroy all those cinema seats?" "Yes, but we had lots of them." "I think they had actually been brought from another cinema." " So, they weren't from that cinema." " No." "When you shoot a scene, it's not like you just do it once." "A lot of things got broken." "So, we had plenty of them." "The cinema where we shot was closed, wasn't it?" " Is it there anymore?" " It's now a shopping mall." "Was it the Atlantic?" "I don't remember." "I don't remember the name." "Was it near Cinecittà?" "No, we shot on Tiburtina Street, across from the De Paolis Studio." "I understand now." "I used both of these actors in other films, as well." "Peter Pitsch, a German actor with an incredible face." "I met him again not so long ago." " And Lino?" " Lino..." " Salemme." " Yes, Salemme." "I made two or three more films with him." "I even got him to play a police inspector once." "Is he still acting?" "He and I worked a lot together." "We did four or five more films." "Then at a certain age he quit." "He didn't want to do it anymore." "He never managed to get bigger roles." "He was always cast as a supporting actor." "He has an interesting face, and he was also very good." " His face could be American, French..." " Italian." " Yes, Italian." " In fact, he is Italian." "Faces are always an important part of my films, and I always like international faces." "Of course, if I made a film set in Sicily," "I'd make it with Sicilian faces." "Bettina was from Florence." "This girl here." "Peter was incredible." "Well, maybe there's some more further down." "You're a prick, Piggy." "Must be all the shit in the air that's making you so nice." "The big erotic scene of the film." " It was dragged out a bit." " It's the only one." " Who was this actor?" " I can't remember now." "Lino has a great face, too." "Well, his face is very Italian." "A very particular face, though." "But that guy was a good actor, too." "This is Paola Cozzo." "She didn't do anything after this." " She's very pretty." "I got to know her." " Yes, very pretty." "She's the daughter of a famous assistant director." "She made this film and nothing else." "I remember being interviewed once at a television station." "It was me and all the cast, all the girls." "In fact, just the girls were there:" "Her, Fiore, Natasha, and the rest of them." "Whatever happened to Natasha?" "She stopped acting, as well." "She's living in Paris." "Just the seats settling into place." "Relax." "They can't get through there." "Come on, keep pounding!" "Was she Italian-American?" " I think she was Dutch." " Yes, Dutch." " The name Natasha is a bit..." " Yes." "From Middle America." " The blind guy never dies." " No." "Michael, this is the part now where... something else has to happen, because if not..." "There is tension and suspense because they are barricaded inside while the two most defenseless ones weren't able to get in." "This is another scene that I really like." "When we were shooting, we said..." "Now, here we see the building being alive." "Yes." "Water running down, everything moving." "The broken walls." "Let's get up to the gallery." "No one knows we're here!" "We're better off on our own." "Did you hang the white light panels or were they already there?" "I don't remember." " We made the walls." " I know that." "I mean, they were real walls that we built." "Now they enter into a new location, but it is still claustrophobic." "The sound of falling water..." "Plip-plop." "It reverberates in the absence of music." "Yes." "Are there any plans for a "Demons 3" or a remake?" "Well, why not?" "She's getting me to explore my other side tonight." "The dark side." "I remember getting a call for "Demons 2," but I was in America." "Because, if you remember," "I never died on screen as a demon in the film." "If I'm not mistaken... the idea was for you to be the first found in the city of the dead, the one that becomes a demon." "But I have to say, the actor we used became famous." "Like in a western, waiting for the Indians to attack." " A cigarette break." " A time-out." "The scene I really like hasn't arrived yet." "Hey, kids." "Are we parked illegally?" "Sorry, Officer." "We're on our way." "Just give me a second, huh?" "Hold it!" "Everybody out of the car!" "Put your hands on the trunk!" "Let's go." "It's funny, the things you don't remember." "This is why they end up going inside the cinema." " To escape." " From the police." "You go into the cinema, but you never come out." "But one gets out." "This is an important scene, the door opening." "The door opening by itself." "What the fuck?" "This way!" "Come on!" " Here he is." " Do you see him?" "Where the hell did they go?" "Shh!" "Did you hear that?" "Yeah, I heard it." "Behind the car." "Hey, buddy." "Buddy, you all right?" "What are you waiting for?" "Shoot him!" "Shoot him!" "And so now the action outside the cinema begins." "There should be enough room to crawl." "It could lead outside." "They go from being trapped inside one claustrophobic location into an even more claustrophobic location... the air vents." "And something happens here, as well." "I really like the sound effect of the nails in this sequence, which is how he understands that it isn't just her... that something else is following them." "We're gonna make it." "This was a great idea." "These two characters in the film represent innocence." "At the start, they are young, clean, and innocent." "But now they get made up and become evil." "What noise?" "Keep moving." "We're in the movie theater." "Deserted?" "That's weird." "Where was the noise coming from?" "Let's go." "Come on!" "That shot reminds me how much of a nightmare the hands in this film were." "Michele Soavi, as far as I am concerned, might be a good director, but as an assistant director, he really made me work a lot." "Every day he gave me a long list of what was needed for the next day." "But he didn't pay much attention to what Lamberto really needed." "To make sure he didn't have any problems," "Michele wrote everything down." "So we had to prepare makeup for 100 demons every day." "Industrial-sized quantities of hands and nails." "It was a nightmare preparing for the next day." "I remember it took four hours a day just to do my hands." "So you really must have had a lot of work to do." " What kind of fuckin' place is this?" " What the hell happened in here?" "Find a way out!" "Hey!" "There's a door here." "Come on." "Lamberto, what was the biggest problem you had filming "Demons"?" "Did one specific scene cause more problems than the others?" "Yes, I'll tell you when we get to it." "There was one particular scene." "It was incredibly difficult, and we had very little time to shoot it." "We needed more time and equipment." "But it's not this one." "This is the type of scene I like to shoot." "This mirror." " Where's Nina?" " She's probably in the can." "I didn't like this lady demon very much." "In fact, she wasn't used a lot." "Here, this is the shot that..." "The moment we shot this," "I said that it would be on the film poster." "And in fact we have it here." "How did you do those eyes?" "The eyes were an idea we had..." "I can't say." "It will remain a mystery." "In any case, they're brilliant." " It wasn't with a computer." " Computers couldn't do that back then." "It was something we came up with by experimenting." "Good old-fashioned experimentation." "We had an idea, a eureka moment." "Thank God!" "Help's arrived!" "Don't you understand?" "We've been saved!" "Up there, there are some chairs." "Come on, come on, get a move on." "Somebody give me a hand." "Stop!" "Downstairs is full of 'em!" "What are you doing?" "Stop tearing down the barricade!" "Why did you decide to use Bobby Rhodes as a demon in this film and another character in "Demons 2"?" "Because I liked the idea." "I enjoyed giving him a completely different character, as though he were a different person." "In fact, in "Demons 2,"" "apart from the word "Demons,"" "there's nothing in the second film that was in the first one." "It's not a sequel." "None of the characters reappear." "It's another story." "This is Ottaviano Dell'Acqua." "Yes, I remember him." "I made two more films with him." "I remember Dario and you working very well together on the set." "Was it complicated having the producer always on set or was it like I imagined?" "Before filming, I had thought that Dario would be complicated." "But once we started shooting, I saw very little of Dario." "We would come to watch the dailies." "He would always be encouraging and supportive." "He'd come if there was a scene that interested him or to watch his daughters." "But he definitely wasn't an invasive producer." "And when he gave advice, he gave good advice, and he never gave too much advice." "I have to say that." "He was incredibly positive and supportive." "Everyone worked very hard on this film, because we were shooting 30-35 shots a day." "And even more when we shot the scene I became obsessed with." "I want to give a mention to the lighting." "Gianlorenzo Battaglia was the cinematographer." "He was very good and worked very quickly." "He made it just dark enough, because in situations like this, particularly with a lot of special effects, if you over-light, even the best special effects don't look great." "It needs to be properly lit." "It's very important." "It's very important for your work, isn't it, Sergio?" " How it is lit and framed?" " Without doubt." " I can hear them!" "They're..." "They're..." " Easy." "George!" "The DVD images are always a bit brighter than those you see at the cinema." "For example, we saw when Fiore and the boy were being chased..." "In fact, here you can see too much." "At the cinema, this is much darker." "It even looks like a mistake." "Hey." "Hey!" "Come here!" "There's an air-conditioning vent here." "We could crawl inside." "At least they won't see us in there." "Shall I go first?" "Huh?" "No." "We'd better get Kathy in there first." "I don't think she's capable of fending for herself." "I noticed something I like, even if it doesn't make much sense..." "The flashing lights really create a sense of anxiety." " It's true." " Yes." " They change." " First red, then..." "We don't actually know why they're flashing, but they create this... this movement." "She's not feeling that well." "The yellow contact lenses that Stivaletti put in." "I remember those big, orange lenses." "We had them specially made for the film." "They weren't like those you can easily find nowadays." "Everything was made for the film." "A funny thing about the wardrobe, and it only ever happened to me on this film." "Usually on a film, you have three of every wardrobe item." "We had 18 of everything because they were being sprayed with all kinds of stuff." "Even the crew was wearing plastic overalls to try not to get covered..." "By what was being sprayed." " This bit now is tense." " It's a fantastic special effect." "Look!" "Look at her back!" "This is the type-3 demon we were talking about." "For this effect, Lamberto and I decided to make a life-sized model in the same position as the actress." "Lamberto wanted to make sure they both looked exactly alike so we could get a good effect." "Seeing it now, it's a pity the model doesn't move." "Just the head moves." "It was already very difficult to get everything inside the body." "The back was made to scale, and my assistant pushed the head out." "He had been working for me on every aspect of this type-3 demon." "The mask had wires so that we could move the various parts while it was being worn by an actor." "The AC/DC poster in the background." " They all have a meaning." " Yes." "What's the one beside it?" ""No Nukes."" "Please, go away!" "Okay." "Okay." "Okay." "No, George," "Wait." "Do me a favor." "A last favor as a friend." "Sure, Ken." "Kill me with this." "No, I can't do that, Ken." "Do it, George!" "It's them!" "They're coming up the stairs!" "Ah, here's the part where even he becomes one." "Of course, he was scratched." " Take it." " No." "They're coming!" "Take it, George!" "Kill me!" "Don't let me become like them." "Come on!" "Kill me!" "They're coming!" "Why did you decide to use the sword in this scene?" "Well, because a Samurai sword... is an object... one that is quite..." "A katana is almost a religious object." "This is the sequence I was talking about that was..." "We had two motocross champions to ride the motorcycles in this scene." "We had three different motorcycles." "It took us three days to shoot this scene." "Three of the worst days of my life." "Usually we did an average of 30 shots a day, but here we did many more." "So, was this the most difficult scene?" "No, it was difficult because to do it properly we needed more..." " Time?" " Yes, time." "Here we were really working... with absolutely no time to spare." "Nearly all those guys chasing them were stuntmen." " They weren't real actors." " I remember." "I was there those days." "Here I am!" "The music here is great, too." "These were stuntmen." "It's not the only thing they did." "Urbano Barberini didn't want to ride the motorcycle." "He was a Mercedes type of guy." "Those are my red pants." " The riding over the seats is great!" " Yes, fantastic!" "For every one of those motorcycle shots we had to set up springboards and ramps." "And sometimes even a platform, because in some shots the bike was pulled along." "That would look great in 3D." "Yes." "Not bad, is it?" ""My hero." That's what that look says." "All fans, make note..." "I'm not dead." "I wasn't killed in that scene." "He killed the rest of them." "Here's what I was saying." "We needed something to..." " Outside the cinema." " Outside of the ordinary... to get them out of there." "And this is it." "Seen like this, it appears a bit..." "But if you follow the plot closely, when the cinema door opened..." "The blind guy went out." "Exactly." "The city became contaminated, and that's why the helicopter crashes." "We see that the pilot had transformed into a demon, which then caused it to crash." " It could happen like that." " Without a doubt." " Cinema in miniature." " Not at all." "The helicopter was real." "It didn't have a motor, but..." " Yes, it was real." " I thought it was a model." "No, we used a model for when the helicopter crashes through the roof." "But the one we see falling is a real helicopter." "It was a real helicopter." "A small helicopter, not a big one." "But in any case..." "This guy here had his head taken off." "His scalp." "I like the decision to crash a helicopter into the cinema." "How did you get the helicopter inside?" "Because the cinema had those wide-opening doors." "I understand, those big entrance doors." "Come on, Cheryl!" "Uh-oh." "George, they're coming!" "We're back!" "They're coming!" "Come on." "Come on!" "Come on!" "Come on!" "This is the model here." "Not here." "The blade is a fake blade." "The rest of the helicopter is real." "Up there." "That's where we have to go." "It's all right, Cheryl." "We're gonna make it." "Come on." "Take this." "This too." "He has now become an action hero." "Like a Marine." "Well, under stress." "Urbano Barberini on top of a helicopter shooting this thing." " A great image." " Yes." "A real hero." "See that winch at your feet?" "Give me the end of the wire." "Here Urbano Barberini looks like..." "What's his name?" "The Russian in "Rocky IV."" "That actor?" " Lundgren..." " Yes, Rod..." "Dolph Lundgren." "He looks like a smaller version of him." "The ex-bodyguard of Grace Jones." "Yes, exactly." "Quick, give me the starter." "Come on!" "Give me your hand!" "Pull yourself up!" "Come on!" " It's that nag from earlier." " The demon you don't like." "I always liked this idea." " Was this shot in Rome on a set?" " This is a set." "This was on a sound stage." "Sergio acts here." "What's he going to do?" " Were you in it?" " I'm the demon at the end." " There are a few frames of me." " This is good trivia." "You'd need to watch it frame by frame." "Here's the return of..." "The man with the mask." "The man with the mask, who represents evil." " We could say he's the devil." " Yes." "Run, Cheryl!" "Run!" "Was this the De Paolis Studios?" " Do the De Paolis Studios still exist?" " Yes, they were even rebuilt." " This bit is a bit wicked." " It's due." "Precisely." " I really like this shot." " Yes." " An eye for an eye." " It looks great." " Yes, it's pleasing to the eye." " An eye for an eye." "That's right." "An eye for an eye." "I remember this part as another nightmare." "Everything had to be ready for the day we shot, but overnight the polyurethane inside the head inflated." "The head became too big." "It was really awful." "But Gianlorenzo Battaglia helped by..." "Here I am." " Oh, yes." " Sergio!" "Not this shot." "Gianlorenzo Battaglia helped me by framing the shot in a particular way." "We managed to figure out how to shoot it without ruining the effect." "In the end, it worked quite well." " Here they are." " Yes." " Berlin?" "No, this is Rome." " This is Rome." "Was the film made under budget or did it go over budget?" "What?" "Was the film made on time and within the budget?" "Always with me." "Budget and shooting schedule." "I've never gone over either." "Not even when I was a producer." " Maybe that's how you learned." " No, the opposite." "That's why I became a producer..." "So that nobody could get on my back about what I was doing." "Over here!" "Hurry up!" "Jump in!" "Hurry up!" "Jump in." "Come on!" "Go!" "This was our weapons expert." "I don't know who the girl was." "I think she was American." " Another innocent, fresh-faced girl." " Yes." " And there was also the boy." " Yes." " He was in a lot of horrors." " Really?" "Yes." "Giovanni Frezza." "Kurt." "Where are we going?" "Out in the country." "Just a second." "Hey, dad?" "Dad, they want to know where we're going." "If you could change something..." "A scene, anything... what would it be?" " Now?" " Yes." "Well, sometimes Natasha Hovey looks a bit like Francesca Bertini." "That annoys me." "When she looks at him like he's a hero." "Of course there are things..." "No, I must say that I'm satisfied watching the film again." "Of course, if it were made today, it would be a different film." "Naturally, if I made it today and had more money, not that it would be better, but it would be different." "But... it's a film that stands the test of time." "I'm happy with how it has aged." "And you, Sergio, now that you're a lot more experienced, would you change or add any special effects?" "I would definitely add some." " I would happily..." " And then this." "I really like this finale." "It all seems to be over." "We're watching the credits." "But it's not over." "The saga continues." "And what's more, we've killed off the main character." "Of course." " That's fantastic." " I enjoyed doing that." "It doesn't have a happy ending!" " The pretty blonde is still alive." " Yes, that's true." " He's upgraded to her." " Yes, she was gorgeous." "Okay, maestro, friends, it's been great to see you all again." "One thing I would say about the music..." "If I wrote the score today, it wouldn't be the same as back then." "The sounds and instruments are typical of that time." "But I wouldn't change one thing of what I did." "It's great as it is." "A product of its time." "Of course it's now a cult film, and this is also because it's a film that is full of elements from that specific era." "For example, the punks' clothing is typical of those times." "They're a bit funny now." "It's almost like a period film." "And the appeal of those times is the reason why the film is popular and why we're here today." "The only thing I'd change would be not to have gotten yogurt in my hair for 10 days straight." " Thanks, everyone." " Thank you." " Thank you all very much." " Thank you very much." "Thank you." " We made it." " It was good." "Thank you, thank you." "I'd have changed Geretta." "Thankfully you didn't say that." "Don't ask me to do the remake now." "I'm not that stupid." "Geretta and Bobby could do a remake because they look the same." "Yeah, we could come back."