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#intervista
molecoledigiorni · 6 months
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Per crescere i figli in modo felice c'è una sola soluzione: le relazioni d'affetto, sia che si tratti di una coppia etero sia che si tratti di una omosessuale. Là dove vige l'amore si cresce bene, là dove vige la violenza o il gelo emotivo si cresce male. Che la smettano di dire che la famiglia è fatta da un uomo e da una donna, perché questa è una visione fondamentalmente materialista. Lo stare insieme non è semplicemente mettere al mondo i figli, ma ha anche il significato di volersi bene, di dedicarsi a un'opera educativa. [...] i figli sono figli non perché vai a letto con una donna e la donna va a letto con un uomo, sono figli perché li cresci, perché stai insieme a loro, perché rispondi alle loro domande, perché stai attento ai loro bisogni. Questo significa "paternità" e "maternità", da chiunque sia svolta.
- Umberto Galimberti
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dinonfissatoaffetto · 2 months
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- Gianni Rodari, 1976, Sull'importanza della fiaba
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pochiperpe90 · 1 year
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[ENG] DISUNITI - Interview to Luca Marinelli by Gianmaria Tammaro
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When choosing a role, Luca Marinelli lets himself be guided by instinct. He tries to listen to what his insides are telling him and to give a precise shape to his intentions. He doesn't move blindly;  he moves slowly, with the same awareness of someone who knows his work, even instinctively. It's useful for him, he tells me, to stay in touch with the story, with what he tells. Because that way he can become part of it. A character, until the last stop is called, never leaves; it's like a second skin, and he's there, docile, waiting, ready to come out. Luca has a deep and low voice. These days, while he's filming M. Son of the Century, he has freshly shaved cheeks and a cap that is always pulled down on his head, to hide his hair and forehead. The smile and the look, however, are the same as always.  Kind the former, intelligent the latter. When he speaks, he takes his knees in his hands, tries to collect himself, to compact himself into a single point. Not to limit the occupied space: but to find a center. We are in a park, in the late afternoon light, and a light wind is blowing. It had been a long time, Luca confesses to me, that he hadn't spent such a long period in Rome. In 2012 he moved to Berlin, and since then he has returned to Italy only for work reasons. "I've been in town since last spring, I think."
When you filmed the sequel of The Old Guard.
 "Yes, exactly. And now I'm working on this series".
 How did you find Rome?
"It's a question that, I confess, I don't quite know how to answer. I found Rome wonderful as always. And at the same time I felt tired. It's a beautiful city, and every time I have the opportunity to discover it more. Especially when I ride. And then I must tell you that I found her changed. Some neighborhoods aren't as I remembered them anymore, and that's okay: that's what happens to everyone, I guess; let's change".
When you will be finished shooting M., will you go back to Berlin?  
"Yes".
Why? Do you prefer it?  
"But no, it's not a question of preferring one city to another. Also in Berlin there is a fundamental part of my heart and a different dimension of life, just as important".
And does this diversity matter?
"Right now I feel like I have two houses, and it's nice. I feel at home both here and in Berlin. It took some time to reach this balance, I won't hide it from you. But now I'm really fine. Berlin is another dimension; it's not Germany. Berlin is Berlin, it's almost a place apart. I love his tranquility and his energy. When I'm in Rome, I feel a different kind of energy".
Tell me.
"There is a need to give oneself fully, to give oneself completely, when one plays a part or does something; but there is also a need to know how to withdraw in order to find one's own space. It's used to recharge. To fill again this container that is within us. Because when you work, you give everything. Everything is given. And you can come out of an experience exhausted. I say always that I don't get tired. But at some point, willy-nilly, fatigue still comes. Anyone who plays football has ninety minutes in his legs, he trains for that. When he goes too far, he risks overdoing it. So yes: it's important to stop and do something else, just to enrich yourself before the next project".
I imagine the type of preparation also changes
"Each project is completely different from the other: from the one that preceded it, and from the one that will follow it. The dynamics are the same, yes, because the set works, more or less, in the same way. But every experience is a different experience. And the city in which it's filmed has nothing to do with it; it's not just geography. There is more: much, much more".
What is your method as an actor? Indeed, I take a step back: you have your method?  
"I don't know. So, instinctively, I'd say no, I don't have it. Which doesn't exist. I've always had pretty much the same approach; and I modified this approach depending on the project and individual experience. Sometimes, over the years, I felt that I didn't do what I wanted to do in exactly the way I had imagined it; and then later, subsequently, I tried to improve. Keeping in touch with the reality of what we tell is something that helps me a lot".
Why?
"I can't tell you. I could foolishly answer you: "because I'm close to the story". But actually I think it's something else. It's like there's a smarter part inside of me. And it's this part that intervenes at a certain point, that understands what to do and that guides me".
Maybe it's instinct.
"I don't know. I tend not to ask. I tend not to compliment myself, or even see myself in a totally positive way. I'm not saying this out of false modesty or because I love to despair, no. I feel this is my approach: I need training, closeness to the thing we have to tell; and sometimes this closeness must also be on a physical level. Only later do I venture further in the project".
Why did you decide to play Mussolini?
"Well, I can't talk about that. Not at all. Let's take up this question again at another time."
Sure. Alessandro Borghi told me that you are like two brothers, that he's happy if you are happy. How would you describe your relationship?
“In a very similar way. I'm happy too if he's happy. I'm fortunate to have a group of very close friends: people I consider brothers and sisters and who, in some cases, I have known for more than thirty years. And Alessandro is part of this group. Every time we've worked together, we've talked about friendship. A friendship, precise, very strong. And next time too, the third time, we'll talk about a friendship: I'm sure of it. Indeed, I hope so. We meet again years later, with a greater awareness and maturity, because in the meantime we have grown up, and we face the same theme again: it's a wonderful thing".
Alessandro also told me that you are very different.
"It's true, we are. But that's also, I think, the beauty of friendship. Being different and still being able to find each other and be together".
Are you a rational or instinctive person?
“If Alissa heard you, she'd laugh…Look, I don't know. I don't think rational. In my head, I tend to get into a lot of trouble. If we talk about a project, I give weight to the first sensation I feel in this area here, from the neck down. And I have to say I have never been disappointed. Sometimes an immediate, definitive sensation came. Other times, however, I convinced myself and I totally trusted others". 
Has this trust ever been betrayed?
"From a film, you mean?"
From a film, a director or a fellow actor.
"No. Never betrayed. A project always has its own direction, and you must learn to follow that direction. Obviously, then, you too give it colors and a part of yourself. Bet on falling in love with someone else, and eventually you too fall in love. You rely on a director, you know a group of people who act with you. But if you get used to giving so much, you start to feel the urge to risk even more with something of your own".
So would you like to direct a film? 
"In general, not just at the cinema. Writing or directing, yes. I think about it every now and then. And in effect, a theater project already exists in the near future".
Does the anxiety of the set, of a new project, pass after a while?
"At some point yes, it passes. But I always see it that way. There are projects where it takes me less time and others where it takes me longer to ignore this anxiety. Or maybe it's not like that: because you always stay in character. It can happen that you completely abandon yourself to one thing before, turning off your brain. Or it may happen to succeed later. It's essential to trust yourself, and I say this first of all to myself. At the Academy I had a great teacher, Paolo Giuranna, who said: "trust the work you've done up to now; when you enter the scene, it's a blank page"".
How important was the Academy experience to you?
"Very. They have been three full and intense years. At the beginning I had a different vision of this profession, and then, being with others, with my class, I managed to find a more concrete dimension for what I had in mind. I remember the fire of that period, the passion. It's still there, sure. But now it needs to be fed. Before, however, it burned almost by itself. Instantly".
In some ways, you're talking about what it's like to be young.
"Yes, but also of not having experienced first-hand what it means to do this job. There is a substantial difference between working out and starting to play sports seriously. When you play sports, you understand that you have to deal not only with what you have learned but also with many other factors".
What relationship do you have with time? 
"I don't want to say trivial things... But time passes, and it also passes with a fair ease. It doesn't wait for you. He's not watching you. It would be nice to be able to live each day as if it was a lifetime. As if it was extremely important. To quote Thoreau: "As if one could kill time without hurting eternity." For heaven's sake: I spend whole days sitting, doing nothing, because mi pesa il culo (I'm a lazy ass)... (laughs, ed). But even that helps: do nothing, look around and don't box yourself in a phone. To stay. Simply. Throwing away some time makes me appreciate its value".
Even boredom has a purpose, in short.
“Boredom is interesting. It's curious. I get bored a little because I always try to do something - even here, perhaps, my wife would laugh. But I try, and I really try, to do something. Since adolescence, when I don't know what to do, I go out and about. When I read The Walk, I found this wonderful idea of ​​walking and learning to see what the world has to offer."
What is your relationship with Alissa?
"She's the person with whom I would like to share so much of this time, and I'm sorry when I can't: when I'm not enough with her and with our children. If I put time near her, to them, if I use them as a parameter of judgment, I wish I had more and more. It's never enough for me. I love sharing."
What are you afraid of now? 
"Fear is a strange word; a word that after meeting Claudio Caligari I tried to use less and less. I usually replace it with concern. Fear is something that makes you stop, and I learned from Claudio that it doesn't make much sense. You always have to keep fear at bay."
What worries you, then? 
"Maybe just the passing of time, because it holds together an infinity of speeches and aspects. I worry about not giving due importance to individual moments".
How do you experience success? I mean: what follows you is an extremely passionate audience. What kind of bond unites you with the viewers?
“This thing you're telling me excites me. As you know, I don't use social media. So I don't have a clear view of what's going on. And knowing that makes me happy. Above all, it makes me happy to be able to give something back to others and excite them. If I'm shy, it's because I've always been shy. Social media can be useful. They connect many people with little; think of all the protests that exist today and that start right from social networks. Being able to share a testimony with the whole world is important. But I can't do it: said exactly like that, in the Roman way. I can't use them. I get excited when I meet people: when they ask me a question, they tell me what they thought about a film. They are crazy moments, that shake you. It's what, at times, drives me to give more, to commit myself to the maximum".
You mentioned Claudio Caligari earlier. What other encounters in your career have influenced you so much?
"The meeting with Carlo Cecchi was very important, whom I met again, with my great pleasure, also on the set of Martin Eden: master in life and work. When I have a professional concern, I always want to call him. Sometimes I had, and he answered me with passion and sincerity. During the period of the Academy there were several important meetings, like the one with Anna Marchesini. In recent years, I have met many directors, actresses and actors with whom I have shared the set. And then, even if it sounds silly, there was the meeting with myself".
In what sense?
"Several times, over time, I felt the need to stop and refocus, to understand who I was and what I wanted. And so yes, I ended up meeting the many people I've been and who still live here; and I learned to know them all, more or less. This is also important: understanding where we are and how we got there. When I had dialogues with myself, I changed direction or went on, on the path I had taken".
If you could go back in time and give you one piece of advice - before you entered the Academy; when the fire was still alive, and burning on its own - what advice would you give yourself? 
"Go calmly. Listen. And listen to yourself. Have fun; have more fun. Smile. Enjoy everything; trust yourself".
I ask you the last question. Who is the actor?
"...what?"
Who is the actor?
"Someone who, trivially, feels he wants to communicate something, and communicates it. Someone who enacts a thought they've had or an emotion they've felt. Someone who is aware, hopefully, of all the possible consequences."
Like always, sorry for my English
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il-ciuchino · 2 months
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Julian Assange intervistato da Tucker Carlson
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Il giornalista Tucker Carlson ha intervistato Julian Assange in carcere. L'intervista risale allo scorso novembre. Un ringraziamento a B17 per la traduzione italiana.
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sigurism · 1 year
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Luca Marinelli
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yankeece · 7 months
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"La morte è qualcosa che la nostra società ci impone di affrontare individualmente, al massimo all'interno di una famiglia. Invece, confrontandomi col passato, vedevo un'idea della morte integrata nella vita e nella collettività. Questo rapporto tra due mondi è probabilmente l'ultimo tassello di un trittico su un territorio che si interroga su una domanda centrale: che cosa fare del passato?"
— Alice Rohrwacher
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io-rimango · 10 months
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“Nessuno di noi è preparato. Né lo saremo mai. Ma questo è ugualmente il nostro destino: cambiare. Stiamo già cambiando. Che tu voglia o no, che ti piaccia o no.”
(Ray Bradbury intervistato da Oriana Fallaci)
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a-silent-bear · 9 months
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“Se non sei amato da ragazzino comunque non vieni su bene.
E anche l’amore è una cosa che si impara, se non te lo insegnano un po’ pazzo e anche un po’ pericoloso lo diventi.”
Marracash
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radiofrank · 2 months
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Gli agricoltori italiani, come ho raccontato in queste settimane, si sono organizzati da soli e sono scesi in strada con i loro trattori per protestare. Così il movimento apolitico e asindacale, Riscatto Agricolo, è nato in modo semplice e spontaneo durante una cena tra amici in un capannone toscano. Hanno creato un gruppo WhatsApp, pensando di raccogliere le adesioni dei coltivatori locali, e invece sono arrivati colleghi da tutta Italia. Questo weekend nei presidi offrono prodotti e degustazioni, anche per scusarsi dei disagi creati negli ultimi giorni. Ho cercato di conoscerli meglio:
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lunamarish · 2 years
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fourelles · 25 days
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Luca Marini as a guest in an Italian TV show (Chiambretti Night) in 2009
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translation [Italian-English]:
Presenter: Bruno (Ieraci), who's 8 y.o., known as "Vale46", who also claims to be a big fan of yours, already races with motorbikes: what do you think about the misuse of children in professional races?
Luca: I think that a kid should go on a motorbike when he/she feels like it and that there's time, not necessarily a child should already go on a minibike when he/she's 2... And also to ride the big bikes there's still a lifetime!
Presenter: Sure, the fact is that kids should behave like kids, no?
Luca: Yeah, instead sometimes they behave like the adults...
Presenter: Indeed, is it better to behave like kids when we are kids or to behave like kids when we are adults?
Luca: Eh, better to behave like kids when we are kids!
Presenter: Therefore children shouldn't go 150 km/h fast!
Luca: No!
Presenter: Eh, except one: you!
Luca: Yes! (laughs)
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molecoledigiorni · 1 year
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“La ricetta per essere felici? È una domanda che mi pongono spesso, ma noi esseri umani non siamo fatti per arrivare ad un approdo definitivo, ma per stare in viaggio. Questo è un po’ il grande tema, qualcosa che ti faccia, pur nell’orrore e nello smarrimento, rimanere aggrappato alla vita”.
- Daniele Mencarelli
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"L’esperienza poetica è l’esplorazione d’un personale continente d’inferno,
e l’atto poetico, nel compiersi, provoca e libera,
qualsiasi prezzo possa costare, il sentire che solo in poesia si può cercare e trovare libertà."
-G. Ungaretti
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pochiperpe90 · 1 year
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The eroticism of friendship and the strength of the mountain
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The two actors and the writer Paolo Cognetti tell what they learned from the mountaineers during the making of the film "Le otto montagne".  A great test of acting, authenticity and humility: «Up there the ego is resized»
The film 'Le otto montagne' is an excursion of rare visual and emotional intensity. A must for those who loved Paolo Cognetti's novel from which it's based, for those who love mountain life in general, and for those who know nothing about it, but know what a true friendship is, its adventurous mystery. The story, brought to the big screen by Felix van Groeningen and Charlotte Vandermeersch, is a double love story: for the mountains and for friendship. To guide us, the actors Luca Marinelli and Alessandro Borghi, in the role of Pietro, the citizen, and Bruno, the mountaineer. Cognetti was their guide in the summer of 2021, when he hosted them in the refuge in the Aosta Valley where he wrote and set a large part of the novel (a refuge that he bought with the profits from the book).  The friendship of the two resonated with the mountain and its singer.
«I had two fears about the film», confesses Cognetti connected via Zoom with Marinelli and Borghi «related to inauthenticity: that the story was taken elsewhere. There was talk of America, of the Rocky Mountains, where, however, there is no mountain pasture culture, which is central to the story. And then the two friends, the heart of the film, had to be real. It was important that the mountain was real and that the two friends were real».  The setting has not been distorted, also because the Belgian directors were conquered by the beauty and seasonal cyclicality of the Aosta Valley, functional to show a friendship that resists distance in time, as well as in space. True the mountain, true friendship. Marinelli and Borghi were chosen not only for the sum of their talent, but for their experience. They met on the set of 'Non Essere Cattivo' by Claudio Caligari, filmed in 2015, then they never worked together again, although they remained friends. «Their meeting again, on the set, after a common past and a distance is what happens to Bruno and Pietro».
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The two actors auditioned for both roles, but for Cognetti and the directors there were no doubts as to who should play the brighter role, full of energy and vitality and projects (i.e. Bruno, the mountaineer, played by Borghi), and who, on the other hand, is the shyer one, to be pulled out (ie Pietro, the citizen, or Marinelli). If for Marinelli love is the common root «of the billions of friendships in the world», for Borghi the fulcrum is diversity: «The most beautiful moments in the film for me are those in which the two friends recognize their differences and accept them, it's something that I also find a lot in my life, diversity nourishes the love for the woman with whom I have the good fortune to live with and all my friends, even Luca». Thus, with their different physical and emotional masses, and a familiarity due to real friendship, Marinelli and Borghi guaranteed that corporeity which in the novel is a vast front, a contact surface between the world of the city and the mountains.
«In the city» recalls Cognetti, who lives between Milan and the Alps «we are used to shaking hands, embracing, kissing. In the mountains it's a problem. My friends up there are often embarrassed to even shake your hand. Once a very dear friend told me: "You touch a little too much". He hurt me. In the novel, corporeality is important because the two friends find it hard to talk, in the mountains there is little talk and where words fail, bodies arrive, there is almost an eroticism in the friendship of Pietro and Bruno, who played together as children, they rolled around in the grass, they wrestled, they bathed. For me it was important that the two actors already had this eroticism, and they have it».
Eroticism in friendship. One can slip into the simplification of fluidity, but Borghi, connected from his Roman house, wearing a red dressing gown (Cognetti is in front of the bookcases of the Milan house and Marinelli has two abstract paintings behind him), shares a childhood anecdote with chaste eloquence: «As a child, when I had to leave the campsite and we had to dismantle the tent, I ran away from the pitch and went to kiss everyone to greet them and my mother scolded me: "It's not normal love that you go to all the people, unknown, to greet them with a kiss". But for me it was essential to show that I was happy to have been there and I wanted to thank them for the days together.  Yes, I am an extremely physical person, the erotic side of a friendship is always present, I often happen to confuse love and friendship, I can't always understand when one begins and the other ends".
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Marinelli reciprocates: «When we see each other, sometimes instead of asking "how are you", we understand each other from an embrace, we rest our heads on our shoulders and something passes, like in the last embrace between Pietro and Bruno, we sink into each other. It happens often between me and Alessandro too. I think I also passed this on to my character, surely the friendship between us was an important starting point».  However, there was a catch: that the friendship between the two actors turned from a resource into a burden: this was not the case. Pietro and Bruno are not Luca and Alessandro. «For me, yes», protests Cognetti candidly, confessing himself unable to distinguish between reality and fiction, autobiography and fantasy, friends of yesterday and today, people who inspired the characters and actors they play. "I'm not joking, I've seen the film about twenty times, first it was more than three hours long, then every time a scene was cut and for me it was as if they cut off a piece of my body".  Sadism? No, nostalgia. Of course, it is a bit sadistic: «I watch the film because I miss everything, I miss them, it's like having in your phone not only photos and videos of a beautiful thing, but an entire film».
Rewinding the tape of memories, off-screen episodes appear. Like the first meeting between Cognetti and Marinelli, recounted by the writer: «Luca arrived months before the start of filming, it was April, there was no one there that day, I was agitated, I did the cleaning, there was snow and we went for a walk. I remember that Laki, my dog, who is not as kind as me, stamped the ear of Mino, the little dog that Luca had brought with him. A nice menacing bite, to make clear how things are in the mountains. Then we went back, I have a guitar, he can play and sing very well and so the music, especially by Bon Iver, filled the typical silences of the shy.  Luca also helped me set up the lights in the refuge, but the greatest satisfaction, after those months, was seeing how he changed his way of walking, when he dances on stony ground or when he climbs the mountains of Nepal, you can tell he knows how to do that".
For Marinelli, the mountains have a simple but strict rule: «To be on the high seas you must be sailors, to be in the mountains you must be mountaineers. When I went with Paolo we made wonderful laps, if I went alone with my dog ​​I covered 500 meters and then came back. But walking with Paolo means putting yourself on the line, it's not a walk, it's an adventure» (Borghi intervenes with affectionate irony «Paolo the ibex»). Marinelli continues: "When we shot the scenes in Nepal, walking for a long time to reach the locations, I thought about Michael Ende's book Momo, where there's a street sweeper (Beppo) who says he doesn't think about the road all at once, but see it piece by piece. Of those walks from a certain point on, I remember the heels of the guide in front of me and I followed him as if I were a little donkey. Don't look at the top, but at the little piece in front of you, and this trust in the other are two very beautiful things».
For Borghi, who had been going to the mountains for a few years but always in the summer and never in the Aosta Valley, the pasture was a mystical discovery. Thanks to a week spent at an altitude of 2,300 meters with a young shepherd, Esteban, to learn how to milk and make cheese. “He has huge, gorilla-like hands and a heart of gold. Age, unknown. He said he was 18, but he was a man disguised as a boy, because mountain people are of an age you can't understand.  We woke up at 4 in the morning, first milking, then we went to the pasture and there we had to learn to recognize the simplest cows and the most complicated ones... my favorite, which I also milk in the film, is Dorina, I fell in love with her. She had a severed tail from a dog's bite, they couldn't tie her tail up and so I found her excrement smeared on my face, and I didn't say anything so as not to look unable. After seeing Esteban's face, I knew I could complain without ruining my reputation. The reputation. But the beauty of the mountain, its essence, frees you from superstructures, from fear of being judged by others».
The ego, thus, develops a healthier need for the other. «You are in a place that makes you feel small» concludes Borghi «the mountain puts you back in your place. Every time Luca and I were looking out over the refuge, at sunset or sunrise, with or without snow, we felt nothing compared to what we were looking at. So it's natural for you to take refuge in the affection of the other. You look ahead, you see infinity, you feel small, then you look to the left, there is Luca, to the right there is Paolo, and you are safe again. This is the secret of the mountain and the need to be together». Before saying goodbye, Cognetti recalls the day in which he introduced the two actors to his two mountain friends: «Remigio and Gabriele, whom I met when I was 30, were the embodiment of the imagination that I had as a child when I went alone during summer in the mountains. I was inspired by them for Bruno, whose name I took from a neighbor at school». On the first day together, with Luca and Alessandro, they performed a psychomagic ritual: «Remigio took us to slide on the snow, then, all wet, we went to Gabriele's hut to drink hot wine or coffee. I saw in the eyes of Luca and Alessandro how wonderful everything was, we were already inside the film before it started and that world was real. I looked at all this like a child to whom life has given a gift, I saw everyone together, Gabri and Remigio, Luca and Alessandro, I smiled and took pictures, it was happiness».
Cr: 7Corriere
Like usual, sorry for my English
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ladycharles · 4 months
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New interview with Kill The Music! Thanks so much to them for these questions that allowed me to basically soapbox a bunch 🤗
https://killthemusic.net/blog/unsigned-spotlight-lady-charles#google_vignette=
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"Non è vero che il mondo è brutto; dipende da quale mondo ti fai. Quando avevo vent’anni ci chiedevamo se saremmo morti democristiani. Non importa se non avrò più molto tempo: l’importante per me ora è non morire fascista"
Michela Murgia 🌹 (1972 - 2023)
Lei che ci ha dato incredibili insegnamenti su come vivere e su come morire...
Rest In Power 🔥🫰
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