{"id":1442,"date":"2013-10-13T07:53:52","date_gmt":"2013-10-13T14:53:52","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=1442"},"modified":"2014-10-12T09:00:44","modified_gmt":"2014-10-12T16:00:44","slug":"carlo-carlei-exclusive-11-on-creating-the-sweeping-majesty-of-romeo-juliet","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/carlo-carlei-exclusive-11-on-creating-the-sweeping-majesty-of-romeo-juliet\/","title":{"rendered":"CARLO CARLEI: Exclusive 1:1 on Creating the Sweeping Majesty of ROMEO & JULIET"},"content":{"rendered":"

By: debbie lynn elias<\/strong><\/p>\n

With well over 150 adaptations and imaginations of what is perhaps Shakespeare\u2019s most famous, and definitely most adapted, work on screen, director Carlo Carlei\u2019s new ROMEO & JULIET is, in a word, masterful.\u00a0 Sparkling as brightly as a Swarovski crystal, Carlei brings the grandeur and majesty of Shakespeare and the legendary story of star-crossed love to life in this luminous version, is nothing short of golden – – as in Oscar gold.<\/p>\n

In this new incarnation from Carlei, we have sweeping grandeur and lushness not only visually, but emotionally.\u00a0 Key is that Carlei and screenwriter Julian Fellowes \u201c push back the story 100 years and set it during the Reign of Sons instead of the end of the Dark Age in the other movie, to take advantage of the beautiful buildings and the color palette of the maestros of the Reign of Sons.\u201d\u00a0\u00a0\u00a0 With this temporal shift and thanks to the expertise of cinematographer, David Tattersall, every frame looks like a painting, while\u00a0 Tatersall\u2019s use of light and shadow is breathtaking.\u00a0 Embracing the cinematic feel that the story itself has, Carlei celebrates the visual expansiveness, removing that sense of claustrophobia so often associated with the tale and elevates the beauty of the love story to the heavens thanks in large part to the lyricism of the words, the visuals and Abel\u00a0 Korzeniowski\u2019s sumptuous and sweeping score.<\/p>\n

I had a chance to speak with Carlo Carlei in this exclusive interview and talk about the development of what has quickly become my favorite incarnation of ROMEO & JULIET.<\/p>\n

\"romeo-juliet-01\"<\/p>\n

Carlo, your\u00a0 ROMEO & JULIET is one of the greatest pleasures that I\u2019ve had watching a movie and this is by far my favorite version of the classic story, and I\u2019ve seen virtually all of them going back to the 1908 silent shorts.\u00a0 No disrespect to Mr. Zeffirelli and his 1968 classic, but pfft!<\/strong><\/p>\n

Thank you.\u00a0 Thank you.\u00a0 It was a movie made in \u201868.\u00a0 That\u2019s fine.\u00a0 It was pretty daring and, of course, today it feels a little bit dated.<\/p>\n

One of the important things that you do with this version of ROMEO & JULIET is that you really open up and expand the story and the film.\u00a0 There isn\u2019t a claustrophobic sensibility like what we so often find with reimaginations on the screen and stage.\u00a0\u00a0 This is very expansive.\u00a0 You do that through the architecture, your production design.\u00a0 I noticed one of the things that you visually do – and I don\u2019t know if you and David Tattersall discussed this when doing your visual design – but when people are running and heading off to places, you have everyone going down stairs.\u00a0 The only person that really goes \u201cup\u201d is Romeo as if he\u2019s reaching up to the heavens.\u00a0 Was all of this visually planned out by you and David?<\/strong><\/p>\n

Not really, but my style, everything I\u2019ve done up until now – I even made the movie that was the most successful mini-series ever on Italian television and also now available here in the States, was the story of a flyer who practically spent all of his life locked into his cell and if not for taking a walk to the church and confess, I managed to make an action movie out of that.\u00a0 How did I do it, I don\u2019t know.\u00a0 Through his memories, when he was a kid, when he was running in the corn fields chased by what he thought was the Devil.\u00a0 I always try to find a way to find a rhythm, a sense of pacing.\u00a0 For me, life is not static.\u00a0 Life is continuous movement<\/em><\/strong>.\u00a0 For me, one of the most beautiful love stories of all times is The Last of the Mohicans<\/em>.\u00a0 I love that movie so much because it kind of reinvented, modernized a genre which was codified in the way that it was dated, in my opinion.\u00a0 When I read the script [ROMEO & JULIET], I thought, \u201cOkay.\u00a0 There\u2019s everything here that we need in terms of emotions.\u00a0 Now, how do I make it spectacular?\u00a0 How do make it visually engaging and absolutely capable of capturing the taste of young people.\u00a0 Young people, you tell them ROMEO & JULIET and they think about something very static or stuffy.\u00a0 They don\u2019t even know what the BBC Masterpiece Theatre<\/em> is but they would immediately think about something like that.\u00a0 For me, it was absolutely paramount to make the movie that people could enjoy visually and emotionally.<\/em><\/strong><\/p>\n

What were some of your visual concerns? You picked David Tattersall as your cinematographer, who is one of the best.<\/strong><\/p>\n

He is one of the best.\u00a0 Because I knew that I had to shoot the movie digitally, I wanted to go to one of the finest of digital cinema.\u00a0 The last trilogy of Star Wars<\/em>, they started with little Sony cameras and evolved little by little, but David was there to witness and contribute to the evolution of digital cinema.\u00a0 From a technical standpoint, I wanted somebody who knew what we were doing.\u00a0 From an aesthetic point of view, given my choice of shooting the movie during the Reign of Sons, I wanted somebody who was able to capture those colors, to bring that to life<\/em><\/strong>.\u00a0 Otherwise you don\u2019t have all those paintings being almost like a constant presence in the movie if you don\u2019t have somebody who knows how to bring to life those colors.\u00a0 Strangely enough, and this will be very funny for you to hear, a movie called Speed Racer <\/em>by the Wachowski brothers captured my attention in terms of, \u201cOh my God!\u00a0 I never saw colors so vivid, so real!\u201d\u00a0 So, Speed Racer <\/em>doesn\u2019t have anything to do with ROMEO & JULIET, yet there was something in that movie that captured my attention and made me absolutely perceive that David was the right guy for my movie.<\/p>\n

\"romeo-juliet-02\"<\/p>\n

The lighting play is so key in this film.\u00a0 I can\u2019t think of many films, if any, where you can pick any shot and it could be a still picture because it\u2019s that beautiful.\u00a0\u00a0 When designing the visual palette, did you and David storyboard or shot list or have discussions on it?\u00a0 The framing is so metaphoric for the emotion.<\/strong><\/p>\n

Thank you.\u00a0 I think that it starts with creating the atmosphere and deciding what kind of light you want.\u00a0 We wanted to be very realistic.\u00a0 We want to use only sources of light that were absolutely in sync with what was available at that time.\u00a0 We didn\u2019t want to force anything<\/em><\/strong>.\u00a0 We didn\u2019t want to fake anything.\u00a0 Once you create that atmosphere, then you create a three-dimensional space where wherever you put the camera you were able to capture the essence of that period<\/em><\/strong>.\u00a0 Then it\u2019s just a matter of your eye and your taste.\u00a0 I think one of the things that I love the most is to frame.<\/em><\/strong>\u00a0 I don\u2019t discuss the framing with the DOP [Director of Photography\/Cinematographer].\u00a0 I discuss the light with him and usually I find every shot myself because that\u2019s the fun of it!\u00a0 I\u2019m a very visual director and I wouldn\u2019t let anybody tell me how to frame my film.<\/em><\/strong><\/p>\n

Your framing is flawless with this film.\u00a0 One scene that stands out is the balcony scene.\u00a0 You have Romeo so small in the topiary hedge and slowly you\u2019re panning and zooming and taking the camera upwards.\u00a0 The backlighting of just the torches and the overhead moonlight is stunning.\u00a0 Breathtaking.<\/strong><\/p>\n

We were lucky because we found beautiful locations<\/em><\/strong>.\u00a0 Sometimes the location dictates to you if you listen.\u00a0 Locations can have a voice and can tell you, can suggest to you what is the best wa<\/em><\/strong>y.\u00a0 It\u2019s like when somebody tells you, \u201cFrame me from the left because that\u2019s my best profile.\u201d\u00a0 A location, if you look at it, immediately it tells you what is the best way to frame it.<\/p>\n

You listened really well!\u00a0 And talking about listening.\u00a0 The score.\u00a0 What led you to composer Abel\u00a0 Korzeniowski?\u00a0 This is such a beautifully thematic score.\u00a0 It\u2019s actually a character unto itself.\u00a0\u00a0 It really fills \u201ctime and space\u201d and helps with the pacing, reminding me of a Bernard Hermann or a Max Steiner.\u00a0 The result is timeless and classic.<\/strong><\/p>\n

I knew that one of the things I had to overcome was that no matter how beautiful the script is and the dialogue is, it’s still pretty classical sounding.\u00a0\u00a0 For me, I felt that the score should have added another element, an emotional element, that would propel the story in each scene in a way where dialogue would be absolutely important but somehow it would be facilitated in the way it\u2019s perceived and absorbed and decrypted by the audience, by a different dimension which was an emotional score<\/em><\/strong>. I think the music is very present exactly like you say, in a Bernard Hermann score, because I wanted it to be a character and given that the movie is period set and the language is classical, it would have been incredibly wrong to have a classical score.\u00a0 In my opinion, Abel is one of those genius composers, one of the few whom I like that was able to do a score that is both classical and contemporary at the same time.\u00a0 It is eternal. It\u2019s like Phil Glass.\u00a0 He\u2019s a classical contemporary composer but his music doesn\u2019t sound like classical music.<\/p>\n

What was the most challenging aspect of bringing this version of ROMEO & JULIET to life?\u00a0 It is so distinctive and cinematic.<\/strong><\/p>\n

I don\u2019t think there was anything challenging<\/em><\/strong>.\u00a0 I don\u2019t know what challenging means because when it\u2019s about creating a movie, making a movie, nothing scares me.\u00a0 I\u2019m pretty fearless<\/em><\/strong>.\u00a0 That\u2019s the only thing I know how to do – well.\u00a0 If you ask me, \u201cCan you please help me to hang that painting?\u201d,\u00a0 I\u2019m absolutely useless. [laughing]\u00a0\u00a0 The only thing in life, God forbid my car stops and you ask me \u201cWhat is the problem?\u201d I\u2019ll say, \u201cI don\u2019t know.\u00a0 It just stopped.\u201d\u00a0 But making movies?\u00a0 That\u2019s something I\u2019ve wanted to do since I was 4 years old and I think for me it\u2019s a pleasure.\u00a0 It\u2019s never challenging.\u00a0 It\u2019s always a pleasure.\u00a0 It\u2019s very interesting to find solutions as opposed to scratching my head to say, \u201cThis is going to be a challenge.\u201d\u00a0 It\u2019s not a challenge.\u00a0 It\u2019s a pleasure to find a solution.<\/em><\/strong>\u00a0 But, I think in the independent world today, independent cinema, the most challenging thing is to put the financing together and to convince people, no matter how passionate or talented you are, that you are the right guy for this job; that the world needs another version of ROMEO & JULIET; that there\u2019s an audience for this kind of movie.\u00a0 Everybody\u2019s a scientist, everybody is a scientist in moviemaking.\u00a0 Everybody thinks that he knows everything.\u00a0 The reality is that I think if you make a beautiful movie that emotionally involves the audience, there is room for that movie<\/em><\/strong>.\u00a0 So, the most challenging thing was to put the money together and convince the people who ultimately financed or produced the movie, that this was a worthy project.<\/p>\n

\"romeo-juliet-03\"<\/p>\n

I\u2019m so glad to see that Swarovski came in as a producer\/financier.<\/strong><\/p>\n

They\u2019ve been incredible.\u00a0 Nadja Swarovski is like a \u201cReign of Sons\u201d benefactor. [laughing]<\/p>\n

I have contributed much to Swarovski\u2019s coffers myself over the years with all the Swarovski crystal pieces and designer jewelry that I have from designers like Heidi Daus who only use Swarovksi in their pieces, plus all the crystal and glass that my mother had that was Swarovski, so it\u2019s nice to see my money was well spent.<\/strong><\/p>\n

So you probably financed my movie in a certain sense! [laughing] You should own a chunk of it!<\/p>\n

#<\/p>\n

9\/25\/2013<\/p>\n","protected":false},"excerpt":{"rendered":"

By: debbie lynn elias With well over 150 adaptations and imaginations of what is perhaps Shakespeare\u2019s most famous, and definitely most adapted, work on screen, director Carlo Carlei\u2019s new ROMEO & JULIET is, in a word, masterful.\u00a0 Sparkling as brightly as a Swarovski crystal, Carlei brings the grandeur and majesty of Shakespeare and the legendary […]<\/p>\n","protected":false},"author":2,"featured_media":1443,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[230,17],"class_list":["post-1442","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-carlo-carlei-exclusive-11-on-creating-the-sweeping-majesty-of-romeo-juliet","tag-debbie-lynn-elias"],"yoast_head":"\nCARLO CARLEI: Exclusive 1:1 on Creating the Sweeping Majesty of ROMEO & JULIET - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the 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