WEBVTT

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Old you is, folks, it's
show time. People pay good money to

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see this movie. When they go
out to a theater. They want cold

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sodas and off fop corn and no
monsters in the projection booth. Everyone pretend

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podcasting isn't boring off I know you
shed tears. I know you continue to

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shed tears every day. Because of
man's ingratitude. You choose souls, and

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despite my unworthiness, you've chosen me. The primary source of all human oppression

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and expectation is individual property. What
is he talking about. It's talking about

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how we can get control of our
lives. I know you'll give me what

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I need. I know you will
not refuse, then encourage. I know

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you will provide wars to win.
Do not let Satan take advantage of your

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suffering. We put our flag good
lands, and we win. If you

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ever come back yet, sut you. It feels like a cinder question these

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things. It feels like a center. Be angry with the Lord. There

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is no greater love than this,
To keep one's life for one's friends.

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No partis at the fee, at
the spasion to sucte, say CLIs,

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Lord, say cloisters, Lord,
drop out, step out, repur the

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wild. Hey folks, welcome to
the Projection Booth. I'm your host,

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Mike White. On the special episode, I am talking with director Abel Ferrara

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all about his latest film, Padre
Pio. The film opens in theaters in

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the US on the second of June
twenty twenty three. Be sure to check

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it out, and I hope you
enjoy the interview. How are you able

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to get stuff finance when so many
people are having trouble actually making movies.

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We do them for the right price, and we will have the right kind

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of group. We can do it
a long time, so we cannot understand

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why we do it. Keep it
too manageable material in manageable situations. What

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about the story of Padre Pio inspired
you for this one. He's a great

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saint. He's a saint of the
outcast, of the gangsters. He's very

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famous here, especially in the South
of daily, very famous. You're conscious

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of him, whether you want to
be or not. But he's also from

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a place where my grandfather was born, very close at almost the same time.

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And I was very close to my
grandfather, and I always want to

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make a film about him and all
wait my relationship that my grandfather gave me

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a like a leg up on him. This is necessarily content temporary figure.

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But he was around when you were
around. He lived a lot of his

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life while you were younger eighteen when
he died, But I didn't know until

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later on. I did, didn't
know he was till I came here.

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My grandfather, though he was like
him, was not a religious over religious.

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First, you don't say he's a
miracle worker. You know he had

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the stigmata. He also built a
thirty five million dollars hospital in one of

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the poorest parts of Italy. For
his parts of Europe, he had some

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concrete miracles to I didn't want to
make a film know about the Saint.

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I wanted to make it about the
point in his life when he was going

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through his own cassemite. Was his
own questioning of his faith, questioning of

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what his order was seting of who
he was and what he was if he

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could even man up to do it. He also was a great writer,

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so there's a lot of his letters
that have been published, person letters that

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he wrote to his superiors, which
gave us a tremendous insight into who and

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what he was. And then that
couple with when we were doing the research,

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we get a documentary just to understand
him. When the documentary covered him

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from birth to death, but this
moment of his stigmata. At the same

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time, this massacre in Sanjivanni Rotunda, which is the town and went to,

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which to me is like the first
battle of War War two. This

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was after World War One, but
it was the birth of the Fascist Party

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in Italy. And this is an
event that is not taught in the Italian

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schools. A lot of Italians don't
notice that, which is seems odd to

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me, because to me, it's
like bunk or lil or a Fort Sumpter

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or something like that. How long
have you been making films, primarily in

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Italy? I started around right after
nine to eleven. About a year or

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so after that, I came to
a film that I didn't want. Then

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we started to tell him here and
then back in the States, and then

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like in tow we made Pasolini in
two thou twelve and then fourteen and around

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there. About ten years ago we
had a Chuck and now it's a three

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to open January down here. We're
working here. I'm not against doing anything

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anyway, it's just things like you
said, we figured out how to do

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that, so that chance in figuring
it out somewhere else. How has it

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been working. Have you brought over
people from New York? Are you using

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primarily Italian cruise? I've been working
with guys, been working since nineteen seventy

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five and composer Joey Line, producer
Diana. We got the crew here,

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we choose it up, some of
the younger guys, Sean Bryce Williams.

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He came and shot zeros and ones. It's like a mix. Was this

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your first time working with Shyla Booth? Yeah? How was that experience for

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you? It's great. He understood
what we're gonna do. He just took

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a while to put this together.
It came to at a point we really

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didn't nap together. But his energy
and his desire, he went for it

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a big way, reping it.
He's doing these scenes and Latin serving mass,

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so it's easy. It looks to
him now. He brings a lot

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of energy to that role. And
I was just it's interesting to watch one

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of your movies without well of him
Defoe, just because you've been working with

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him for such a while and have
such a great or poor with him.

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He lives in close as friends outside
of the movie. How many projects do

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you think you're cooking up at the
same time until one finally boils over?

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Right now, we're focused on one
thing, one in the writing stage,

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and then I get there's another one
that somebody else's writing. I read a

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lot. So I read a lot. A lot of times. I'd read

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things that we've already written. I'm
thinking, wow, just shoot this.

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I've been reading certain books, you
know. So it's like that. And

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we're doing a documentary. Now,
we're doing a documentary. We've been in

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the Ukraine and we've been filming up
Patti Smith. We count into documentaries and

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the changes. That's one thing that
I definitely find to be a very interesting

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thing that you're doing, is this
kind of mix of going back and four

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between docs and feature films. And
he said, there's one on po as

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well as the feature film that was
a documentary that came out about five or

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six years ago. You can see
it's Searching for Padre Peo. For me,

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it was a very interesting film because
it covered him from the beginning to

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the end, and we talked to
a lot of people that gave me real

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deep insight on concept of miracles,
the tradition of the South of Italy like

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that. And what are you doing
with Patti Smith? We're filming her,

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just filming her talking. She does
this poetry thing. This friend of mine,

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step On is his music. And
then she plays with her kid,

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her son and her daughter and like
an off shoot one of her bands,

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not a key band, like another
band. You just followed him. Her

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husband, fred Sonic Smith, was
from around here, so she's always been

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a local hero. Yeah, he's
He's one of my big heroes. Actually,

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it's one one of the things that
led me to her. MC five

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like that was off bands. Mister
Farr, thank you so much for your

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time. I really appreciate this.
Thank you very much. Okay, all

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right, June sect right, you
got the date, June second, Rodrey

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po b there b Squire