![]() “The sound is part of the storytelling,” he says. “I think it’s because they want to be fashionable and recognizable,” he chuckles.Īs an admirer of Mann’s body of work, Daniel Pemberton came into the film acutely aware of just how central music would be. Turning his attention to the wardrobe of the racers, Cantini Parrini realized he could embrace a less bespoke approach, as the drivers favored more everyday clothing of the era - shoes, gloves, helmets and goggles - with minor distinctive flourishes. Michael likes ties, so I had hundreds and hundreds of ties because every day we had to decide together which one was the right one.” “Together with Michael, we chose the colors of everything. “We found a factory with old fabrics - real fabrics from the ’50s - so I bought everything,” Cantini Parrini says. The wardrobe was tailored to Driver’s considerable height and Ferrari’s distinctive eyewear - original frames now impossible to find - had to be specially crafted to accommodate the facial prosthetics aiding Driver’s metamorphosis. He doesn’t change a lot of the shapes of the suits he used light colors.” “The same outfit but with different fabric and color. “As everybody does, when they’re famous, Ferrari dressed in the same style, always,” the artisan says. Massimo Cantini Parrini crafted suits in Ferrari’s signature fashion. “I straightaway saw it and I could figure out how one could make it work - if we built this, if we covered this, we could make our own authentic version of the Ferrari factory’s design.” Her team found a ’60s-era Italian dairy factory that closely resembled the configuration of the original auto plant and brought it to life by building detailed elements including the Ferrari logo-emblazoned gate and his office, refacing every wall and window, and erecting facades that re-created the look and feel of the 1957 factory. “The architecture of the Ferrari factory and the interior of all those spaces inside the factory - it spoke volumes about Ferrari as a character, and it was incredibly important to be super-precise,” Djurkovic says. Just as critical was Ferrari’s industrial world. And then you cut through with that extraordinary red.” “It’s a monochrome that’s based on the colors of the city: It’s not gray and black, but it’s brown and terra-cotta. “It felt very obvious that we’d create our own version of monochrome,” she says. Ferrari’s home base of Modena in northern Italy provided one crucial template in its inherent color palette. You don’t have to impose it,” she explains. “When you put those images on the wall, the color palette, the mood, it’s there. Maria Djurkovic shares Mann’s passion for intensive research, noting that reality inevitably provides clarity to what she needs to accomplish. ![]() “That kind of dynamic really gets the spectator to experience it and what it feels like to be a racer.”Įnzo and Laura, played by Adam Driver and Penelope Cruz Photo Credit Lorenzo Sisti “Michael can see the dynamic of the narrative, even if it comes down to very harsh cuts and contrasts between the domestic parts or a very powerful cut into the sound of roaring engines,” Scalia says. Mann, after reviewing all his dailies and his detailed shot plans, gave specific notes to deliver the essence of each scene. “I see for myself and how it emotionally affects me in a lot of ways, and I go for - just like Michael - things that feel truthful in terms of character,” he says. Pietro Scalia’s story-shaping sensibility gelled neatly with Mann’s clear vision for each scene. That’s the experience I wanted to convey.” What you’re experiencing and disregarding is the extreme agitation of the moment you’re in but that’s never what you’re clocking. “Rather,” says Mann, “I wanted to convey the racer’s almost zen focus on what is about to happen ahead, focusing on that, and not the extreme agitation of the moment because that’s never where your focus is. “We weren’t trying to glamorize the cars, because they inherently are beautiful,” says Messerschmidt. In stark contrast, Mann and Messerschmidt, along with camera operator Roberto De Angelis, filmed the racing sequences with unconventional angles and specially engineered camera mounts to subjectify the racing experience. “That’s why, I believe, he has such a marvelous facility and is so fluid with the shaping and movement of the lighting I was looking for.” As the scene progresses and gets more dynamically argumentative, the characters move into and through the lighting. Messerschmidt’s brilliant lighting is seen in the confrontation between Enzo and Laura after she discovers the existence of his second family.
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