Dario Argento
By Stuart Alson
Italian film director Dario Argento’s new film Giallo (produced by Rafael Primorac), starring Academy Award® winner and Cannes Film Festival alumnus Adrien Brody and César-nominated actress and Cannes Film Festival alumnus Emmanuelle Seigner, is currently in pre-production in Torino, Italy.
Argento is a cinematic legend. He is best known for his work in the horror film genre, particularly in the subgenre known as “giallo,” and for his influence on modern thrillers and slasher films. He’s directed 17 feature films including such horror classics as Deep Red, The Bird With The Crystal Plumage and the highly revered and influential Suspiria. In this casual conversation, IFQ’s Stuart Alson spoke with horror impresario Dario Argento as he discussed his new film Giallo, Sergio Leone, his early beginnings and the Italian tradition in film.
IFQ: Are you in pre-production on Giallo right now?
Dario Argento: Yes, we are in pre-production, location and everything.
IFQ: Can you tell me about the film?
DA: It’s very difficult to speak about before shooting. [Laughs.] I am very happy with the cast (Adrien Brody, Emmanuelle Seigner and Elsa Pataky). It is very good. I love Adrien Brody.
IFQ: Yes, he is a big actor and he is going to make a great movie. It’s interesting because Adrien Brody won the Academy Award® for The Pianist, directed by Roman Polanski, and Emmanuelle is Polanski’s wife. Is this just a coincidence?
DA: Yes, I know both of them. I know Roman very well. He is a good friend of mine. I met Emmanuelle during the last Cannes Film Festival in May 2007. She’s wonderful and great. I saw her in Julian Schnabel’s The Diving Bell and the Butterfly.
IFQ: She’s a very good actress. She’s in Bitter Moon, which is one of my favorite films. I noticed that you have written most of the movies that you have done in the past, but you did not write Giallo.
DA: No. I didn’t because the producer said, “Are you ready to do a film?” and then they sent me the screenplay. The screenplay is similar to something that I would write. I’m very comfortable with it.
IFQ: In the beginning when you first started your career, you wrote screenplays. One of your first jobs in the business was helping write Sergio Leone's Once Upon a Time in the West. Can you tell me about it?
DA: For me, it was an honor to work with Sergio Leone. Sergio Leone was my idol. I was very happy to work with him and maybe to learn something. [Laughs.] I only got $500 for three months of work, which was not much. [Laughs.] But for me, I would have done it for free. Many young people would have done it. I was very young— I was 23 or 24 at the time.
IFQ: You were a film critic before you became a screenwriter, director and producer.
Would you ever want to be a film critic again?
DA: Yes. Sometimes I write for newspapers or books. Once you are a critic, you devote your life to it. Like if you are a priest, then all your life you will be a priest. [Laughs.]
IFQ: In the beginning with one of your first films, the financiers tried take you off of the film.
DA: The financiers did not like it. It was my first film and it was so different from other films of the time. The financiers were thinking it was too strange and different, and they thought that the suspense thriller was not interesting. They didn’t understand it, but the film was a success in the end.
IFQ: What is your advice for a new filmmaker?
DA: The good thing for a filmmaker is also to be a writer. It’s a good secret because if you write something, then you can follow your inspiration.
IFQ: What’s your opinion on studio films vs. independent films?
DA: I like independent films. All of my life I’ve worked in independents. The only time I was in the studio was with Inferno. It was not so good to work with Fox with Inferno. Usually I work with independent producers. I have more freedom. They don’t say anything about censorship. Anything is possible and my mind just goes. [Laughs.] It’s good because it brings respect, and also you save money. I like independents.
IFQ: Have you had much experience at the Cannes Film Festival?
DA: Yes. They are familiar with my work as a director. One night during the last Cannes Film Festival, they had a celebration of my old film Suspiria and screened the new copy from the Directors Guild of Europe. I was very honored.
IFQ: Last summer we were in Naples, Italy and met up with Abel Ferrara. He’s premiering Chelsea on the Rocks at Cannes. Do you know him?
DA: Yes, of course. He’s my friend. He is one of the greatest directors today. It’s interesting because I know the story of The Chelsea and Sid Vicious.
IFQ: You directed Jennifer Connelly’s first breakthrough film (Phenomena/Creepers). This all happened before she starred in Labyrinth with David Bowie. Can you talk about your experience working with Jennifer?
DA: Phenomena/Creepers was one of my greatest experiences in my life. She was marvelous and 13 years old. She was a great actress at that age and it was a wonderful experience for me.
IFQ: We interviewed your daughter Asia at the Thessaloniki International Film Festival in Greece. You produced your daughter’s directorial debut Scarlet Diva.
DA: Yes, my brother and I were the producers.
IFQ: Did you like the movie?
DA: I liked the movie. The film was very personal and it had a strong personality, which is shown in the film. I was very proud to produce my daughter’s first film.
IFQ: How’s Asia now?
DA: She is very happy, and I think she wants to direct another film. I will help her if possible.
IFQ: Since the beginning, you have been working with your family. Is that because when you first started in film your father worked with you?
DA: Yes, it’s the Italian way. I brought my brother in; I brought my daughter in. It’s the Italian way like DeLaurentiis. It’s a tradition in Italy.
IFQ: How about your 6-year-old granddaughter? Is she going to join the family in the movies?
DA: The moment is too far away. It’s a little too early to tell. [Laughs.]
The Mother of Tears: Cannes Market Screenings
May 14th, 16:00, Arcades 2
May 15th, 20:30, Palais I
The Mother of Tears will be released theatrically via Myriad Pictures and The Weinstein Company. The film will open with select screenings on July 6th in New York and Los Angeles and will open wide thereafter.