Newsgroup: it.arti.cinema
Titolo: ieri notte alle 4 su rete 4...

... che film era? Un horror incredibile, ne ho visti solo 5 minuti ma sono
rimasto scioccato: crudissimo.
La testa di un mostro bambino e un uomo che urla dal dolore, della gente che
ride soddifatta (dottori?) e la testa del bambino-mostro che dopo essersi
contorta per mezz'ora si spacca e ne esce la gamba giagante di un ragno (era
un ragno?) animazione in stop-motion del ragno mostruoso e l'uomo che grida
ancora di più.
Chi sa cos'è? E, se non lo sapete, mi sapete dire dove trovare il palinsesto
di ieri di rete4 (su 
http://www.mediasetonline.com/rete4/
 non l'ho trovata)?
Molte grazie,
F.

 di ieri di rete4 (su 
http://www.mediasetonline.com/rete4/
 non l'ho
trovata)?
Sul televideo
Leo

fEDER ha scritto:

Il nido del ragno 1988

 Il nido del ragno 1988
grazie, ciao
F.

 Il nido del ragno 1988
Oh, santa pace, l'ho visto. Intervistai il regista, molti anni fa. Da
qualche parte sul computer ho ancora una versione dell'intervista, in un
inglese improbabile (traducevo in inglese e la spedivo in Francia alla
rivista Mad Movies, dove ritraducevano in francese). Se interessa la
posto.

posto.
A me interessa.
Lory
...il magnifico duplex non-brizzolato, padre spirituale senza pudore, pluri-incidentato e pluricitato in giudizio di it.arti.cinema
---
"Mamma! - mormora la bambina
mentre piena di pianto ha gli occhi
- per la tua piccolina non compri mai i balocchi,
mamma, tu compri soltanto i profumi per te!"

 posto.
Anche a me!
Grazie,
F.

 wrote in message
1falwc3.1lapxihohmv2yN%unfaked...@katamail.com...

M'interessa.
Saluti
Ale

 A me interessa.
L'avete voluto. ;-)
Ecco un'intervista malamente tradotta in inglese a Gianfranco Giagni,
effettuata qualche mese prima dell'uscita del film in un baretto vicino
a Piazza Farnese a Roma. Mi scuso per la qualita' dell'inglese, ma come
ho detto prima era una traduzione fatta al volo per consentire ai
francesi di fare la *loro* traduzione in francese. Credo fra l'altro che
questa intervista sia poi rimasta inedita.
Il film poi non mi piacque affatto -ne' mi piacque la serie "Valentina"
a cui il regista accenna a fine intervista e che poi fu effettivamente
realizzata da Giagni e da Giandomenico Curi. Pero' Giagni e' una persona
veramente simpatica e gentile, oltre che un vero appassionato di cinema
-lo rincontrai anni dopo una volta che ero andato a intervistare Oberdan
Trojani, direttore della fotografia di "Othello" di Orson Welles e
ineasuribile miniera di ricordi wellesiani (*questa* intervista la
trovate sul mio solito sito personale che ormai conoscete fin troppo
bene). And now, for something completely different...
(spezzone di intervista o di non so cosa, rimasto impigliato nel
documento. Lo lascio perche' e' interessante leggere cosa diceva Alan
Parker nel periodo di morta dell'horror, prima del "Silenzio degli
innocenti")
`The great problem is that here in Italy the horror is still a B-genre.
Marcello Avallone ("Spettri" n.d.r.) recently talked with Alan Parker
who said that in the U.S.A. nobody is ashamed to make a horror. In Italy
instead you should make only movies about your life, about the '68 and
the way we were and will be. I think that you can say more with a good
horror, with a metaphor.
INTERVIEW WITH GIANFRANCO GIAGNI
"Il nido del ragno" is your first movie. Would you tell me how did you
start?
GIAGNI: I began as assistant director in TV productions. I worked with
Mario Bolognini, Alberto Negrin: I was just a little boy then. After
that I became part of the team who relized the first italian program
about rock videos, called "Mr. Fantasy". It was 1980, and we were the
only three/four directors making videos. I made videos for all the great
italian rockstars, and I continued this work also after I left "Mr.
Fantasy", a few years ago. I worked with Loredana Berte', Vasco Rossi,
Miguel Bose', Matia Bazar; in Great Britain I made a video for the
Madness (for the italian market). But right now I'm making less and less
of them.
Is that because you made the jump to cinema?
GIAGNI: No! It's because in Italy it's becoming more and more impossible
to do them. I don't want to make videos with a cheap budget. And, after
all,I became tired of all this stuff. I work in a very cinematographic
way, and I think there's not much left to say. Maybe with the
electronics this is no longer true, but I don't have a lot to share with
electronics. I like a Cinema-like kind of language. And I also make
commercials.
I bet your film will have that particular look wich is common to many
movies made by video and commercial directors!
GIAGNI: Well, I didn't want it to be a video-clip in the first place.
So, yes, there is a great care about the image and the lights, but it's
no Adrian Lyne. It's a work I made to order: maybe I wouldn't have
chosen to begin with a horror/mystery. And it is a particular kind of
horror: although there are many murders, it is not a butchery! I mean,
the gore is one of my favorite genres. But I also am a diehard Hitchcock
lover, I like a cinema which gives you true emotions. Here I tried to
take a little chance, starting the film as a classic thrilling: only
after that the hell breaks loose! In all the first half it's more what
you don't see than what you actually see. I don't know if the producer
is so happy about that. It is a rather schizophrenic movie: it has the
structure of a thrilling but in the end there is also a great deal of
special effects. I didn't give too much importance to a pair of the
murders, and the last one is something we don't quite see: we just see
the effect, the blood which splashes everywhere. 
You say it's a work made to order. How did they choose you?
GIAGNI: I think that in Italy they got the habit to call video and
commercial directors. We shoot a video in two days, every single day we
make 40 shots! It's crazy! But the producers like this very much
(although in the making of a movie we have to be a little slower). So in
one year I and Giandomenico Curi made our first movie. There is Piccio
Raffanini who made a mystery called "Pathos". And all the three of us
were in "Mr. Fantasy". The problem starts with the actors, which we are
not used to. We just have to film people who sing. But I didn't have
great problems, thanks to my experience as assistant director.
Who are the actors?
GIAGNI: I wanted to pay particular attention to the actors. I didn'want
to use recognizable faces, so I took most of them from outside Italy.
There are two amazing Hungarian guys who had never made this kind of
pictures: I hanged one of them in the beginning. There is a wonderful
Austro-Rumenian actress. And then I had William Berger and Stephane
Audran.
Does the movie take place in Hungary?
GIAGNI: Yes, in Budapest, but it begins in Dallas. 
Why Budapest?
GIAGNI: Because it is cheap! I would have liked best Venice or Perugia.
But I discovered that Budapest is a wonderful, magic town. And it also
has a strong film industry which is a great help. Anyway it's the story
of this young american professor who works in a study about strange
religious sects. He is sent in Budapest since the Hungarian
correspondent has disappeared: and he finds him very scared... I like
quite a lot this passage from the "new" America to the "old" Europe,
this meeting between two different worlds and ways of life.
And how do the spiders enter in this plot?
GIAGNI: The spider is an idea by Gianfranco Manfredi. I had a screenplay
by Cesare Frugoni and Riccardo Aragno, but it had been made ten years
ago and it had badly aged. It was just a serie of murders in the Dario
Argento style, linked by something you didn't know until the end.
Manfredi put the main character in a spiderweb: everybody is part of the
sect and the distinctive mark is a spider-shaped scar on the arm. In the
end you discover that the initiation rite is made through a child, a
sort of living idol. He appears from a coffin and transforms himself
into a spider: and then he goes in the arm. With Sergio Stivaletti we
already made a terrifying transformation and now he's working about the
entering in the arm.
Is it possible that the spider-shaped scar has been inspired by the
Comic "The Men with Lead Eyes", a story of Mort Cinder by Alberto
Breccia and Hector Oesterheld?
GIAGNI: I don't quite think so. Anyway the weapon used in the murders is
a solidified drool. There is also a love scene with a girl which leaves
this drool on the back of our guy (who remains unaware of that). There
are spiderwebs, riddles when he gets lost in the city's streets and many
spiders. And, by the way, the main character has a terrible phobia about
spiders since his childhood, when he had been closed in a closet with a
spider: so he sees spiders everywhere, also if they're not there. As you
can see we still use old cliches: but I think that the idea of the
drooling killers is quite new. And we were the first to use Budapest for
a horror movie (although maybe Argento once filmed here a Turkish Bath:
but I found one which is better!).
Can you tell me something about the music?
GIAGNI: The author is Franco Piersanti. This is his first horror movie.
I didn't want at all rock music: we're sick and tired with it. I love
Bernard Herrmann instead and so I asked to work with strings. The
problem is that it's expensive: we're trying to obtain those effects
with few players. Franco saw the movie a few days ago.
Any project for the future?
GIAGNI: I'm writing now some screenplays for a TV-series from
"Valentina", the comic-book character by Guido Crepax. I will write and
direct about half of the episodes.
Yeah? My father made the movie from Valentina in 1973, "Baba Yaga" with
Carrol Baker and Isabelle de Funes. Who's the producer?
GIAGNI: Rizzoli, for Berlusconi. Anyway we'll have a lot of freedom to
modernize the character and we will not be tied to Crepax's stories. But
everything's still on the air. Instead it's important to know that "The
Spider's nest" is produced by Tonino Cervi, who made such films as
Antonioni's "Deserto Rosso", and "La commare secca", "Boccaccio '70". He
is an old time filmaker: he was fond of such authors as Fellini,
Visconti and so on. But then he become fascinated by this kind of
movies: he had to see, to name one, "Friday the 13th". And in the end he
allowed me to shoot in America and to spend a budget higher than wahat
was foreseen. I wish him all the best luck!

 wrote
...azie!
Ciao,
F.