Legendary production designer Dante Ferretti is known to moviegoers everywhere for the elaborate and period-precise but fanciful worlds he has created for such films as Terry Gilliam’s The Adventures of Baron Munchausen, Neil Jordan’s Interview with the Vampire, and Martin Scorsese’s Hugo (for which he won an Oscar this year). Among his first projects as art director were the films in Pier Paolo Pasolini’s Trilogy of Life, which also tread the line between the gritty and the fantastic. In this clip from a new Criterion interview with him—who had already served as an assistant production designer on Pasolini’s The Gospel According to St. Matthew, The Hawks and the Sparrows, and Oedipus Rex—Ferretti describes envisioning The Decameron with Pasolini, divulges the director’s penchant for sliding down banisters, and explains the importance of making mistakes.
Across the Great Divide: Creating Powell and Pressburger’s Stairway to Heaven
In one of the most stunning technical feats in their filmography, directors Michael Powell and Emeric Pressburger envisioned a conveyance that sends souls into the great beyond.
Getting into Character for sex, lies, and videotape
Sex, shame, and sibling rivalry: actors Andie MacDowell and Laura San Giacomo talk about capturing the layers of conflict and taboo in Steven Soderbergh’s debut feature.
How Ron Shelton Did Justice to the “Talking Sport”
The director of Bull Durham explains the ins and outs of bringing baseball to the screen and why Kevin Costner is the finest athletic actor he’s worked with.