"FILMMAKERS VS TYCOONS" "A vampire with just one fang?" "A computer-colorised vampire?" "A vampire in full daylight?" "A Kurosawa samurai speaking Basque?" "This is a sacred place." "Delphi." "The most famous oracle of ancient times." "Powerful men came to consult the gods in search of a comforting answer." "The Apollo temple was built on these pillars." "If you didn't see the six of them, and my hat, of course, that would mean this film is projected incorrectly." "During the Peloponnesian War, the Athenians believed the answers of the oracle favoured the Spartans." "The beginning of the end." "Over 2.000 years later excavations brought these stones to light again." "Archaeologists study them to get all possible information on who built the temples, stadiums, amphitheatres." "For 100 years, filmmakers, like new archaeologists, have tried to explain life in that era with images that have become sacred to many of us." "Victorious, Pompey reached the stronghold of the defeated." "Much later, in September of 1988, cultured people, filmmakers, writers, musicians, actors from all over Europe, met here to defend their rights in face of the European audiovisual crisis." "Yes, only sticking together can we defeat them." "Did they meet here thinking the oracles always favoured the tycoons?" "Are the tycoons the new oracles?" "Or is this a place representing the persistence of oblivion?" "The European Audiovisual Charter proclaims:" "And in Barcelona, a year before Delphi, July 22nd, 1987, the director Fred Zinnemann read the short but forceful Barcelona Manifesto." "When Zinnemann read these words the Spanish Intellectual Property Law was still of the XIX century." "But, a few month after reading this," "November 11th of that same year, the new Spanish Law appeared, integrating the protection of films and demanding:" ""Respect for integrity of works, preventing any distortion, modification, alteration or attempt against it that is in contempt of the author's honour and reputation. "" "Having recourse to the new Intellectual Property Law, in '88 a complaint was filed against the TV screening of" "Man of the West that altered the original format in contempt of Anthony Mann's reputation as a film director." "In other words, the author." "It was the first filed for a filmmaker's Moral Rights." "But we know the Court never reads the first complaint." "And they just filed it away." "But it was echoed in the press." "And a few weeks later, the same TV channel screened the film again in its right format." "Cinema was the main broadcasting media this past century, becoming entertainment for millions of people worldwide." "Seeing one of the first films now, it seems strange that such shaky images could impact so much on the audience," "but it's because of the few possibilities we have now of seeing a film of that era as it was projected originally." "The silent films screenings we not at all silent." "Films were always accompanied by live music played by an orchestra, band or a pianist, depending upon the theatre." "Afterwards, when they were screened, generally, they were screened at the present speed of 24 frames per second, thus altering the original speed." "Color systems were developed from the very beginning." "First they were hand painted, frame by frame." "Later on, color was generalised by toning and tinting." "Many films, before the arrival of sound, had scenes shot in full color." "When the spoken word reached the cinema all previous productions became useless to the merchants." "Silent images being useless to them, they dropped them." "Many films decomposed, and others were destroyed by fire." "But the majority were destroyed by axe blows." "Some were saved by intrepid personal actions." "Only 15% of silent films survived." "Film destruction methods became more modern." "And so, works of Murnau, Ford, Mizoguchi, Renoir, Ozu," "Walsh, Dwan, Borzage, Melies and many others found a very different destiny than that of their creation, as explained in a newsreel." "Yesterday, these celebrities still enthused the world and today their films are destroyed," "washed in a drum, and their remains are melted." "Now women have on their nails the man they loved so because nail polish is now made of celluloid." "And that is not their only trag" "The celluloid becomes a thick paste and in the polish of their shoes they copy the smile of a beautiful woman." "When the first talkies got to the theatres the projectors were not yet prepared for sound." "The solution was drastic." "O.V. (SOUND) / SPANISH V. (SILENT)" "Many years later..." "This is format 1:37, also called standard." "You see, it's almost square." "It's the talking film format." "Before, in silent films, it was wider." "Space was not needed for the sound track." "So, now when copies are made of silent films with the sound track filmed, this harms the original image." "Each film should be projected with the right catch for the format it was shot in." "If we take a film shot in Scope, we see the image is longer." "That is to say, anamorphised." "Later it will be the projector lens that deanamorphises it and projects it on screen in a proportion of 2:35." "Approximately twice the standard format." "It was as of 1953 when, to compete with Scope, the panoramic formats appeared in the United States." "This is a 1:66." "And this a 1:85, which is even more panoramic." "If a film shot in format 1:37 is projected with one of these catches, which some negligent projectionists do, the result is catastrophic." "I insert a 1:66." "And now a 1:85." "To not mutilate the film, we should use proper catches and lenses that are adequate for the film format." "A well-prepared room should have all these catches, even the 1:75 format, an intermediate panoramic used in very few films." "The 1:66 was used more in Europe, and the 1:85 in the United States, which I believe will end up dominating, although good directors such as Fellini say the 1:66 is the perfect format" "for a film." "I think so too, but the Americans are the Americans." "We could also talk about 70 mm., ultra 70, VistaVision, but that'll be some other day." "I'd like to insist on..." "You think out loud now?" "I'm rehearsing a chat I'll be giving on Saturday." "In Spanish?" "If I give it in Catalan, they'd leave before I get to CinemaScope." "If we don't do something we won't catch the bus." "What do you mean?" "I told them these two films were too long to go together." " We'll leave a bit later." " And miss the last bus." " What can I do?" " "What can I do?"" "As usual in these cases, eliminate a reel." "Don't just stand there." "Don't project one of the middle reels and we gain 20 minutes." "If anyone realises, they'll think it was the censorship." " That's not right." " Neither are such long films." "Who makes them are inconsiderate." "There's hardly a soul at the last showing." "It doesn't matter." "We don't need 20 minutes to get to the bus stop." "If we leave before half past we'll make it." "If we have to grab a cab, you'll pay it." "Look, on all showings" "I'll use a speed of 26 frames." "All right, 27." " Has bus 43 come yet?" " Not yet." " Doesn't it come at half past?" " It leaves Les Corts then." "You see there was no need to rush?" "At least he has a guilty conscience." "That has been lost over the years." "The French filmmaker Jean Charles Tachella, towards the end of 1987, complained about the use of a diabolical device from Massachusetts." "Things have changed!" "Half a century ago, who came from there was the incredible Jonathan Clark." "The Boston Man." "A device now called Lexicon Audio Timer Compressor, which can speed up a film on television up to ten times its normal speed, apparently without the audience noticing." "We can see the effects here with the great Francisco Rabal." "In this way, the TV channel can sell more publicity time within the space dedicated to the film." "With the arrival of TV the film alterations have soared and each change in reproduction technology brings new systems that alter films, and destroy the original." "Maybe the only solution is professor Mallol's invention." " Hail." " Hi, professor." "Hello, beautiful." "Look, here I have the format alteration detector." "All you do is indicate the format here, and that's it." " What if they are colorised?" " No problem, it's automatic." "Fantastic." "So, here, for you." "See you, God willing, and forgive me for not coming sooner but I was loaded down with work." " Don't worry." " Bye." "The sun is very important." "If the sun dies, everyone dies." "The moon is also important." "Juan Fernández Navarrete, known as The Mute, was a painter from Logroño." "He became deaf when he was three years old." "He never learned to speak." "He learned painting with Titian in Italy." "In 1568, when he was 42 years old, the king of Spain asked him to work on the greatest work of art of that era." "When a painting of his maestro arrived, he went to see it immediately." "Navarrete knew he still had a lot to learn from him and that increased his admiration." "7 arms and a half." "Titian's The Last Supper, from Italy." "Soon it will preside in the refectory, as ordered by His Majesty." "Measurements are 7 and a half arms long, and 3 high." "I'm afraid the painting does not fit in the refectory, from which I infer, sir, that cutting it is the only solution." "The Mute was furious." "Mutilate his maestro's work?" "The king wouldn't allow it." "His Majesty the King!" "What are you doing here?" "This is not your place." "I admire how well Titian does things." "You are right, Your Majesty, but had he followed our measurements, it would be perfect." "The painting surpasses exceedingly the measurements of the main refectory wall." "What do you advise me to do then?" "With your consent, the painting should be cut." "There is no other alternative." "It is perfect as is." "Proportional, exact." "Why destroy it?" "It will not be destroyed." "We will only adjust it by cutting the sides." "In short, no apostle will be lost, and no harm will come to the maestro's signature." "Why not put it somewhere else?" "It would fit on the side wall of the refectory." "You dare insinuate Titian's painting on a side wall?" "The Last Supperdeserves a preferential place." "Cut?" "Don't make the effort." "It was ordered to preside the refectory, and will be hung on the main wall." "Navarrete offered to paint an exact copy in 6 months, with their measurements." "And free of charge." "Behead him if he didn't!" "Your copy in such a prominent place?" "You have high esteem of yourself." "Impossible to wait 6 months." "Time is pressing." "And you limit yourself to your own paintings." "Paint, Mute, paint." "Mute!" "It was cut and set in a place of honour in the refectory." "This is the highest prize in movies." "20th Century Fox has won it many times." "But, very specifically, twice for technological discoveries." "In 1955, Fox won the Oscar for discovering the CinemaScope lenses." "The success of this new format was so spectacular that films having ended their career were released again in Scope format, although this altered their original composition." "One film sacrificed for this new system was Welcome, Mr. Marshall." "How stupid, this fuckin' Scope." "No, I had no fuckin' idea, really." "No one told me they had offered screenings in Scope that, fortunately, were not many because I don't think that after its commercial career it would..." "In a way, I deserved it because, once I finish," "I don't see my films again..." "And now, on it's 50th anniversary it's back in theatres." "And, as usual, it's always shown in 1:85 format, and it's been a disaster." "This is the original format." "Screened like this, cut here and here." "Half Manolo Morán's face but, that's a bitch." "This format thing is hell." "At the shoot I'd have cut his entire face out because Manolo was a bit of a bastard to me but, well..." "The only solution would be to print the original 1:37 format within the 1:85." "That would respect it, although giving in to the exhibition dictatorship." "A few years later massive sales to TV began and the CinemaScope format was not the most appropriate." "What came about to fight against TV now succumbed to it." "The 20th Century Fox inventors got to work and, once again, in 1961, Fox won the Oscar to technological advances." "This time for inventing lenses that adapt anamorphic Cinemascope images to standar format." "A device known as panning-scanning." "A diabolical invention that contracts, cuts, quarters and adapts original frames to the TV screen." "Contracts credits, adapting them to the TV format." "It selects composition and can convert one shot into a dozen." "Selects the desired image, from one side to the other of the original." "At times the execution technicians have a problem." "Joan, look at this a moment." "What do I focus on, him or the match?" "Both." "First Lawrence and panning the match." "There's not enough footage." "First frame Lawrence alone, and record." "Now rewind the 35 to the same spot again and" "record the match." " And the sound?" " It's for TV." "We'll fix it later." "At the slap, who do I frame?" "We'll flip a coin." "Heads Lawrence, tails the match." "Once Snows of Kilimanjaro is over we will offer you the World Mus Card Game Championship in wich the Spaniard Juan Carlos Rentero has great possibilities of carring off the title." "Among these stones brimming with legend, where some consider the Cathars hid the Holy Grail, an image of the Virgin Mary was found centuries ago." "The Virgin of Montserrat has been worshiped for centuries." "Since her consecration as patron saint of Catalonia this mountain is a place of pilgrimage." "Due to its dark color, it is considered La Moreneta." "In 2001, scientists discovered it had been colorised." "The original was white." "It was painted black 200 years after." "The legend of Mediterranean black virgins had spread and someone made the legend come true." "Hundreds of speculations were made on La Moreneta color." "No one knew it was all a manipulation." "The same thing can happen in films." "We can still remember that a specific film is in black and white, but if it is colorised and exhibited, within a few years no one will know what the original was like." "The Church never acts without a cause." "It may seem mysterious to us, but it's always fair." "2 centuries ago, it was decided to colorise the Mother of God." "It was no whim of any clergyman or lay person, but an authentic technical need." "The image was deteriorating." "The smoke from the candles of the faithful and dirt darkened the natural beauty of the carving." "And that's why they colorised it, to avoid further deterioration." "They were restoring it." "If you spoke English, I'd think this is Atlanta, and you, Mr. Ted Turner." "When talking of colorising films" "I always ask:" "Who can colorise Dreyer's films?" "Can you imagine colorising Jeanne d'Arc, Vampyr," "Dies Irae, or Gertrud?" "I bet you can't even imagine it, can you?" "If anyone tries to colorise one of my father's films" "I'd shoot them." "Well, not really, I'm no murderer." "And I mean not only his major great works as a director, but also the over 100 films as an actor." "For all films, I am not my father's worshiper." "My father's films have been restored because I have realised people watch TV, which has taken cinema itself over, and they think the perfectly digitalised films seen on TV, on satellite or open channels, exist as such, but they are only tapes," "made specially for television, that are transcribed at the moment of selling a TV broadcast by the film producers." "So, just any film, which isn't very old, even Bertolucci's The Conformist" "Storaro, director of photography, couldn't achieve, even keeping the 3 fundamental color arrays, he was unable to achieve the same tone of that moment." "This is work that dissolves quickly." "In the case of our Association, we work under my father's indications on this, his best film, and started with the most deteriorated film," "Shoeshine, which is the most difficult of all." "But we have had trouble with other films also, like Miracle in Milan, The Bicycle Thief, although much less with The Children Are Watching Us, those with less success, with less prints made." "Many times perfect negative are found from a time we didn't suspect they were perfect." "So we have taken the original negative of the legal owners." "And have made a restored version constructing, after a laborious and costly" "elaboration of the material, a second negative capable of remaining for future generations in memory of the film understood as the original film." "There can be cases like Miracle in Milan, in the finale with the beggars hanging from black cables, visible in the light background, with which they flew over Milan." "We deleted them from the computer because my father would not have wanted them to be seen." "It's not philologically correct, but it is a version." "I must say no one can ever destroy an original." "A restored version can be made, always respecting the original film, but creating a photography in reply without any scratches." "Therefore, you can let people screen the film in a movie theatre." "No!" "No way!" "No one should ever alter a film, not even the author." "That is exactly the case of De Sica in" "Miracle in Milan." "In the finale the characters fly over the cathedral and people say these characters were hanging from cables I never saw." "I saw the film many times." "They say he tried, which was very delicate at the time, very difficult, to get rid of the cables." "I am sure today, if De Sica saw the film, he wouldn't remove them." "He wouldn't worry, and with his works standing, and this film specifically, he would probably feel very satisfied to see that the characters that soar above the cathedral are hanging from cables." "His son is updating because films get old and, naturally, must be cleaned, missing scenes must be found, prints made so as to reproduce and leave the negative, the film, as the author left it, as it should be." "And now, with modern technology, it seems he can." "He removed all cables and the characters really fly." "That is very bad!" "It should not be tolerated!" "I think even De Sica would agree with me." "You can't alter a film from the way it was shot." "There's another example, Griffith's Birth of a Nation" "An American senator, one of those little men who invent, who dispute laws, received a complaint from a group of lucid directors demanding their films never be altered, not even in subsequent screenings." "They defended the authenticity of their films." "The little man said:" ""Why do you say that?"" "He had certain information, because Griffith, in Birth of a Nation, a very delicate film according to the audience, inserted different scenes in accordance with the ethnic groups, the State it was shown in." "The difference between North and South, evident in U.S.A." "He made various changes with different scenes to express different ideas." "And the naive directors, those important and far away colleagues," "said: "But, man, he did that himself. "" "That should not be done!" "But Griffith made no changes, he made different films." "Each film having a reasonable change, to be accepted differently or causing awareness, was a different film." "He made different films." "Once Snows of Kilimanjaro is over we will offer you the World Mus Card Game Championship in wich the Spaniard Juan Carlos Rentero has great possibilities of carring off the title." "A lecture by Victor Hugo in 1874 was the basis for regulating Authors' Rights." "2 years later, the Berne Treaty was signed." "It went through sessions in Paris and Berlin until 1928, when in Rome the established Authors' Rights were added to the Moral Rights." ""Independent of the author's Patrimonial Rights, and even after giving them up, the author can claim paternity of his works and object to any distortion, mutilation or modification or attempt that may harm his honour or reputation. "" "The treaty was discussed in Brussels, Geneva, Stockholm, and in 1971, in Paris, artistic forms not existing in 1886 were admitted, including motion pictures." "The Berne Treaty was ratified in 1973, and states:" ""Motion pictures will be protected as originals." "The authors of the film will have the same rights as any other author. "" "In May '87, North American directors went to Washington." "The commission was Elliot Silverstein," "Sydney Pollack, Milos Forman and Woody Allen." "They were accompanied by Ginger Rogers," "James Stewart and a fighting Burt Lancaster." "Senator Leahy told Woody Allen that they could protect modifications of their films with a contract, as Allen himself had done, which prevented showing some of his films on TV." "The senator seemed very interested in Milos Forman's testimony, maybe because he is European." "To counteract Forman, senator Leahy addressed Sydney Pollack accusing the directors of being the manipulators, modifying other authors of novels and turning these around." "And used John Huston as an example because in The Maltese Falcon he changed Dashiell Hammmet's finale." "Elliot Silverstein ended the session determining the Directors' Guild stance." "When we make a film we think about the country in which we make it," "we think about Italy, about distribution, about an audience that we know a bit about." "When the film leaves Italy, for example, once the theatrical exploitation is over, there is a whole very strong market for DVD, video tapes, the film has a story that lasts, that" "later depends on its quality, a lasting story." "Today, quite clearly, there is a series of steps, changes of property in the sense of being granted to a foreign company which, in turn, carries out another sort of exploitation." "In a certain way, this is objectively uncontrollable at the level of Italian reality in which we can only give our support and hope that this film that will later" "go on its way and move further away from the author's control," "whether it is presented and exhibited to the world uncut," "exhibited with subtitles in the language of that country, but with its integrity safeguarded." "From my point of view, that is an evident wish and I think it is a right being acknowledged" "to the author." "Once Snows of Kilimanjaro is over we will offer you the World Mus Card Game Championship in wich the Spaniard Juan Carlos Rentero has great possibilities of carring off the title." "Don't be so methodical, the best way to travel is to let yourself go." "We will take you to the depths of the world." "Dream places you have always wanted to visit." "The 5 continents at your reach." "Full comfort at the best price." "With the best organization." "New Horizons Travels sponsors this concert." "But we're still here talking about these things." "It's incredible because I'm convinced that these people being fought against, this group, these invaders," "and the people behind that group, taken one by one, they would admit they agree with us." "They are defending a wrong cause with inadmissible arrogance." "One by one, they would say we're right." "And now, ten years after the debate began, we're at the same starting point." "It's incredible." "They don't risk believing it is possible to discuss the legality of an aggression, violence, an act of vandalism towards a person." "We should not give up." "This is a sacrosanct battle against anything that offends our dignity, not only as an author, but as a human being." "Just one verdict of a loyal, brave and honest judge who said that even if an author was willing, he'd commit an illicit act because the art work" "has a life of its own, like any person who has his or her own character and personality." "Even if the author were willing, he'd be going against the respect for something that can't be altered." "To interrupt a film, mortify it, massacre it by altering the narrative spirit, the pace, the sense with inserts of publicity commercials is an act included in the penal code." "Fellini spoke for all of us." "He was the greatest, renowned the world over." "He had cast his filmmaker author's cry against TV, against advertising." "He himself, having dared to do films focused on these things, Ginger  Fred, Intervista." "TV studio chaos was shown in its most grotesque forms." "Nothing has changed." "On this subject I did The Icicle Thiefin '88." "That was a time we all faced this problem." "The Icicle Thief hypothesises with the neorealist b  w films, full of sentiment, interrupted by the colors of ads." "Maria!" "Maria!" "Today you don't have to give in." "Demand more from your washing machine." "Enough greys, reveal the colors of your life with powdered Vial Blu." "Vial Blu appreciates it." "This is not my film." "It is changed, interrupted." "All those were problems of 1988, this past century." "Today we are talking about digital, special effects, DVD, technological media that allows seeing the film in its most" "authentic, original essence as long as, when the DVD is made, the author's format and sound version are respected." "Because if the DVD is to be made today in full color in 16:9 and with Dolby Stereo 5.1, this denaturalises, betrays the work of the author who, on the contrary, had worked with another format" "in black and white and monoaural sound." "This requires a lot of love for films." "Love to preserve, manage and like it, for the way it was shot, and as a testimonial on how, with that technology, one could express oneself artistically." "The gods are strong and merciless." "This interruption in the middle of a film, that could have set a precedent for today's TV ads, is an lifelong Italian custom in movie theatres." "Why?" "Why?" "Because Italian movie theaters still have this custom of dividing films in two parts, leaving a space between the first and second parts, when a man walks in and says:" ""Candy, lemonade, chocolate. "" "Then the audience enters once again and some have ice cream, lemonade, and then they wait." "Finally the lights go out and the 2nd part begins." "This custom also entails serious problems, like wanting to have high narrative stress." "In other words, to end the first part and leave the audience with a desire to see the second." "And in some theatres, they even screen ads between the first and second parts." "The screen goes to someone selling toilet paper, someone else selling cars, refrigerators." "You can't go any further than that." "Montaldo's right." "Dividing into two parts is an Italian custom." "When we Italians write the script we're thinking of the 1st and 2nd parts." "And we divide the film into 2 different parts." "A foreign author can't do that." "He doesn't know this bad custom still exists in Italy." "I imagine he would not like to discover that in Italy his film is split in two in a rather uncalled for way by someone who is not the director." "But the problem, I call it the drama, continues when the film is shown on TV." "The interruptions aren't after the 1st and 2nd parts, as foreseen by the poor author, but are arbitrary interruptions." "At a given time, the most harrowing moment, when the story is captivating," "someone sells furniture, everything, and then the film is resumed." "Many people are used to this." "They get up or leave, and return when the film begins again." "In summary, it even gets to the point where, halfway through a film, we see a newsreel on the weather for tomorrow, talking about China, about the Pope's trips, about Berlusconi." "I say, don't interrupt... as our old slogan says." "So why interrupt the emotion, why should the poor audience be forced to be present at a public auction, with sales and sales in advance, while we have tried to tell a story created with passion, with love," "to entertain and move people, to be loved by the audience and because the audience loves films." "It's not just cinema, it's an image market." "I don't know the situation in Italy." "But I can say for sure that the situation in India is not any better." "Because very often one gets the feeling that films are shown on television as an excuse to display the ads." "Interrupting the showing of the films, the ads keep intruding," "and this is a real crime." "On film people, particularly directors, hardly complain about these violations." "I have heard about the Berne Treaty, the declaration on filmmakers' Creative Rights." "But I cannot be sure on how many film people back home are aware of it." "However, they hardly question the situation." "They seem to be resigned to the bad predicament, as if they have no solution to after." "There is a strange silence over there." "I'll tell you how happy I was when the Swedish channel TV 4 wanted to screen my latest film and in primetime." "But they often change the film format for TV screenings." "So I asked, and they were going to use the correct format." "But guess what they did!" "There I was, watching my film when a terrible amount of ads appeared suddenly, cutting the film off." "That had never happened before, and it's very strange because Sweden is a country in which we have struggled for decades against seeing ads on TV." "How could they include commercials?" "Parliament had changed the laws on TV and so TV 4 though:" ""Let's include commercials. "" "I spoke to colleagues who were in shock." "A colleague, Claes Eriksson, had also been ill-treated by TV 4." "So we got together and talked about going to trial with this idea and to declare that our rights as authors had been infringed." "You can't do that with our films!" "But then I realised you need an important amount of money if you get into lawsuits." "If not, everything could go to pot, you could be declared guilty and have to pay damages to the other party." "But we have very harsh organisations." "The Swedish Playwrights' Guild, the Theatre Guild, the Journalists' Guild." "A series of guilds backed" "Claes Eriksson and me up." "They got a million, no, half a million, to help us get ahead with our legal action." "And the moment is coming soon." "We'll go to the court of Stockholm and will then confirm our stance, saying that they cannot do this with our films." "They cannot crush them, tear them apart with a bunch of commercials." "That infringes our rights as authors." "Now is the time to see whether we can beat TV 4." "We are prepared, with money, reasoning, and we are going to attack!" "Once Snows of Kilimanjaro is over we will offer you the World Mus Card Game Championship in wich the Spaniard Juan Carlos Rentero cannot play due to a sudden illness." "In face of so many atrocities, manipulation, alterations, as we have seen and will keep on seeing, our only defence is exercising our protest." "Our fury as cheated spectators should make the tycoons' structures shudder but we haven't made this film for the audience rights, but for the authors, for the filmmakers." "We must protect the past, thinking of the future." "To end this first film, a quote from an immortal film." "The voice of Howard Roark." "Saying they think of us..." "Tycoons just think of making money with us." "Thinking of their films, filmmakers work for us." "In our next film," "John Huston and Sydney Pollack's defence of Moral Rights in the courts of Paris and Copenhagen." "We won precisely because it seemed impossible." "Deterioration of color as per Martin Scorsese." "The eternal problem of dubbing and altering music." "I remember Godard telling me:" ""In Italy you don't know about spoken films." "In Italy you know about dubbed films. "" "The Final Cut and the new vandalism of software system companies such as Movie Mask." "With the participation of..."