Ferrari Movie - Building a World

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Ferrari Movie Featurette - Building a World (2023)

US Release Date: December 25, 2023
Starring: Adam Driver, Penélope Cruz, Shailene Woodley
Director : Michael Mann
Synopsis: During the summer of 1957, bankruptcy looms over the company that Enzo Ferrari and his wife built 10 years earlier. He decides to roll the dice and wager it all on the iconic Mille Miglia, a treacherous 1,000-mile race across Italy.
Transcript
00:00 (dramatic music)
00:02 (tires screeching)
00:08 I don't like to be an observer
00:11 looking distantly at something.
00:12 I want it to engage me and take me there.
00:14 (car engine roaring)
00:17 (dramatic music)
00:22 It's not simply the place, the furniture, the wardrobe,
00:28 what the streets look like, and all that detail,
00:31 which is terribly important,
00:32 but it's also period, accurate, attitude,
00:36 psychology, the absence of psychology.
00:39 He is very interested in internal life.
00:41 Internal life is 90% of all of his notes.
00:44 Doing the deep dive and trying to recreate
00:47 a cultural reality and a psychological reality.
00:50 Excuse me, please, my husband isn't here.
00:52 He's out, whoring.
00:54 (speaking in foreign language)
00:55 What's the stereotypical marriage
00:57 in bourgeois, regional, provincial modena, 1957?
01:01 What's the authority structure?
01:02 'Cause Enzo's irreverent.
01:04 He disputes authority and makes his own way.
01:07 If Anthony is looking for a scapegoat, then here I am.
01:11 That's different than somebody exercising free will
01:14 where there's no authority structure
01:15 and they don't have something to push against.
01:17 When we lose, you're a lynch mob.
01:19 No, no, no.
01:20 It's enough to make the Pope weep.
01:21 It's the value system.
01:22 It's all those things, and that's not work.
01:26 That's the adventure of it,
01:27 and I can't imagine any reason to do it any other way.
01:30 You've generated all of these unresolved things
01:35 that we don't know how anybody else can manage.
01:38 Michael is not only paying attention to our performances,
01:42 he's paying attention to the way the light is moving
01:44 in every single take, the way the camera operator
01:47 is conducting his business,
01:48 and there's so many different elements at play.
01:51 Get some people to walk through.
01:52 I don't see anybody.
01:53 It's all too static.
01:54 He's a conductor.
01:55 He's waiting for that perfect,
01:58 perfect symphony to come together.
02:01 His focus is, I think, challenging for a lot of people.
02:04 Let's go.
02:05 Because you have to just be with him
02:07 and just go on the ride,
02:09 and just expect the unexpected and be ready to go with it.
02:12 And I think that's a good artist,
02:15 is they take what's happening in front of them,
02:17 very much like what's going on in the car on the track,
02:20 and you adapt and you make it work for you.
02:24 Let's get that camera in.
02:25 Okay.
02:26 Let's get it shot.
02:27 For me, directing photography is a casting process.
02:31 I think we should try and get the oprah at the same time.
02:33 I wanted a particular kind of active lighting
02:36 as apparent in Caravaggio's paintings,
02:39 where the light seems to enter very dramatically,
02:42 and it's almost as if, accidentally,
02:44 the light is hitting a part of a leg, a hand.
02:48 Slice of light hits a face.
02:50 [singing in Italian]
02:53 Michael's command of the frame,
02:58 his use of the frame is such a signature of his,
03:01 and it's specifically tied to what's happening
03:03 dramatically in the scene between the characters.
03:06 Thank you.
03:08 The dramatic scenes have a certain stateliness
03:11 and uniformity within the color and the camera movements,
03:15 and that it pose to that,
03:17 every time there's a race car.
03:19 And the race cars are red, vibrant, savage.
03:24 We get in the cars, the camera's handheld,
03:29 and it's in the passenger seat next to the driver,
03:31 and you feel the road noise,
03:33 and you feel the dust on your face.
03:35 You could easily have made this a movie
03:38 that's just cars moving fast.
03:41 But I never feel like, in Michael's movie,
03:45 he sacrifices character for any kind of spectacle.
03:48 Ready, and roll face.
03:50 Michael gives his actors space
03:52 and is intelligent enough to not control that.
03:56 There is a shorthand, there's that respect.
03:59 When to give them something that will open them up
04:01 or when to kind of, you know, be invisible.
04:03 He's there holding your hand through that process.
04:06 He's thought of every angle.
04:08 We all know it's our deadly passion,
04:11 our terrible joy.
04:14 A millimeter will change everything for him.
04:17 That's good, that's good.
04:18 But not to say that he doesn't have
04:20 his own sense of improvisation himself.
04:22 He still is making up shots and following impulses.
04:25 He is, like, nonstop for, like, 16 hours a day.
04:28 And I know that when he goes home,
04:29 he keeps writing or editing.
04:32 And he's a machine.
04:33 And cut.
04:34 It's this.
04:35 All right, no deal.
04:36 (whooshing)
04:38 (whooshing)
04:41 (whooshing)
04:43 (whooshing)
04:45 [BLANK_AUDIO]