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Nov 13, 2019 · BACHMANN: You give more exact instructions, then, in this film, than I have seen you do on other sets. How does this film differ, in fact, in structure, from your preceding ones? PASOLINI: This time I want to make a different kind of film, more professional in a way.
The unconventionally conducted interviews reveal Pasolini's critical thoughts on the poetic idiosyncrasy of cinema, on dealing with the past, and on the threat posed by a technocratic neo-capitalism. Bachmann saw Pasolini as a seismograph of society.
Dec 4, 2022 · Bachmann's open conversations with Pasolini call for critical contextualization. Literary scientist Fabien Vitali transcribed, translated, and commented the 13 conversations between Pasolini and Bachmann for the book »Pasolini – Bachmann.
Feb 10, 2015 · During my stay, Gideon Bachmann, an old friend of mine who was working with Pasolini, arranged a meeting between us at Pasolini’s apartment. Following are excerpts from our conversation...
Pasolini describes only three, hoping to concen- trate in this reduced, filmic condensation the philosophy of de Sade adjusted to the needs of our days. Hopefully he will manage to produce more than a listing of tortures. In judging Pasolini's work, it is perhaps neces- sary to apply the same tolerance usually accorded
Oct 10, 2011 · The first is an 11-minute interview with production designer Dante Ferretti (who also appears in the End of 'Salo' documentary) and he talks a bit about how he got into his career and working with Pasolini, first meeting him during the making of The Gospel According to St. Matthew.
We are on the set of Salò, or the 120 Days of Sodom. Pasolini lets a small camera team led by the journalist Gideon Bachmann follow him around engaging him in a long and extraordinary...
