Old you is, folks, it's show time. People pay good money to
see this movie. When they go out to a theater. They want cold
sodas and off fop corn and no monsters in the projection booth. Everyone pretend
podcasting isn't boring off I know you shed tears. I know you continue to
shed tears every day. Because of man's ingratitude. You choose souls, and
despite my unworthiness, you've chosen me. The primary source of all human oppression
and expectation is individual property. What is he talking about. It's talking about
how we can get control of our lives. I know you'll give me what
I need. I know you will not refuse, then encourage. I know
you will provide wars to win. Do not let Satan take advantage of your
suffering. We put our flag good lands, and we win. If you
ever come back yet, sut you. It feels like a cinder question these
things. It feels like a center. Be angry with the Lord. There
is no greater love than this, To keep one's life for one's friends.
No partis at the fee, at the spasion to sucte, say CLIs,
Lord, say cloisters, Lord, drop out, step out, repur the
wild. Hey folks, welcome to the Projection Booth. I'm your host,
Mike White. On the special episode, I am talking with director Abel Ferrara
all about his latest film, Padre Pio. The film opens in theaters in
the US on the second of June twenty twenty three. Be sure to check
it out, and I hope you enjoy the interview. How are you able
to get stuff finance when so many people are having trouble actually making movies.
We do them for the right price, and we will have the right kind
of group. We can do it a long time, so we cannot understand
why we do it. Keep it too manageable material in manageable situations. What
about the story of Padre Pio inspired you for this one. He's a great
saint. He's a saint of the outcast, of the gangsters. He's very
famous here, especially in the South of daily, very famous. You're conscious
of him, whether you want to be or not. But he's also from
a place where my grandfather was born, very close at almost the same time.
And I was very close to my grandfather, and I always want to
make a film about him and all wait my relationship that my grandfather gave me
a like a leg up on him. This is necessarily content temporary figure.
But he was around when you were around. He lived a lot of his
life while you were younger eighteen when he died, But I didn't know until
later on. I did, didn't know he was till I came here.
My grandfather, though he was like him, was not a religious over religious.
First, you don't say he's a miracle worker. You know he had
the stigmata. He also built a thirty five million dollars hospital in one of
the poorest parts of Italy. For his parts of Europe, he had some
concrete miracles to I didn't want to make a film know about the Saint.
I wanted to make it about the point in his life when he was going
through his own cassemite. Was his own questioning of his faith, questioning of
what his order was seting of who he was and what he was if he
could even man up to do it. He also was a great writer,
so there's a lot of his letters that have been published, person letters that
he wrote to his superiors, which gave us a tremendous insight into who and
what he was. And then that couple with when we were doing the research,
we get a documentary just to understand him. When the documentary covered him
from birth to death, but this moment of his stigmata. At the same
time, this massacre in Sanjivanni Rotunda, which is the town and went to,
which to me is like the first battle of War War two. This
was after World War One, but it was the birth of the Fascist Party
in Italy. And this is an event that is not taught in the Italian
schools. A lot of Italians don't notice that, which is seems odd to
me, because to me, it's like bunk or lil or a Fort Sumpter
or something like that. How long have you been making films, primarily in
Italy? I started around right after nine to eleven. About a year or
so after that, I came to a film that I didn't want. Then
we started to tell him here and then back in the States, and then
like in tow we made Pasolini in two thou twelve and then fourteen and around
there. About ten years ago we had a Chuck and now it's a three
to open January down here. We're working here. I'm not against doing anything
anyway, it's just things like you said, we figured out how to do
that, so that chance in figuring it out somewhere else. How has it
been working. Have you brought over people from New York? Are you using
primarily Italian cruise? I've been working with guys, been working since nineteen seventy
five and composer Joey Line, producer Diana. We got the crew here,
we choose it up, some of the younger guys, Sean Bryce Williams.
He came and shot zeros and ones. It's like a mix. Was this
your first time working with Shyla Booth? Yeah? How was that experience for
you? It's great. He understood what we're gonna do. He just took
a while to put this together. It came to at a point we really
didn't nap together. But his energy and his desire, he went for it
a big way, reping it. He's doing these scenes and Latin serving mass,
so it's easy. It looks to him now. He brings a lot
of energy to that role. And I was just it's interesting to watch one
of your movies without well of him Defoe, just because you've been working with
him for such a while and have such a great or poor with him.
He lives in close as friends outside of the movie. How many projects do
you think you're cooking up at the same time until one finally boils over?
Right now, we're focused on one thing, one in the writing stage,
and then I get there's another one that somebody else's writing. I read a
lot. So I read a lot. A lot of times. I'd read
things that we've already written. I'm thinking, wow, just shoot this.
I've been reading certain books, you know. So it's like that. And
we're doing a documentary. Now, we're doing a documentary. We've been in
the Ukraine and we've been filming up Patti Smith. We count into documentaries and
the changes. That's one thing that I definitely find to be a very interesting
thing that you're doing, is this kind of mix of going back and four
between docs and feature films. And he said, there's one on po as
well as the feature film that was a documentary that came out about five or
six years ago. You can see it's Searching for Padre Peo. For me,
it was a very interesting film because it covered him from the beginning to
the end, and we talked to a lot of people that gave me real
deep insight on concept of miracles, the tradition of the South of Italy like
that. And what are you doing with Patti Smith? We're filming her,
just filming her talking. She does this poetry thing. This friend of mine,
step On is his music. And then she plays with her kid,
her son and her daughter and like an off shoot one of her bands,
not a key band, like another band. You just followed him. Her
husband, fred Sonic Smith, was from around here, so she's always been
a local hero. Yeah, he's He's one of my big heroes. Actually,
it's one one of the things that led me to her. MC five
like that was off bands. Mister Farr, thank you so much for your
time. I really appreciate this. Thank you very much. Okay, all
right, June sect right, you got the date, June second, Rodrey
po b there b Squire