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.
Donald Richie Uncovers the Traces of a Lost Japan
In collaboration with director Lucille Carra, the renowned writer brought his impressionistic travelogue The Inland Sea—an unusual choice for a film adaptation—to the big screen.
A Palette That Sizzles On-Screen
Filmmaker Darnell Martin and writer Nelson George discuss how vividly Do the Right Thing captures the heat of a Brooklyn summer and the diverse skin tones of its cast of color.
A Genius of French Cinema Delivers a Career-Defining Performance
Raimu is at his subtle best in one of the most moving scenes in The Baker’s Wife, a moment in which the actor channels the collective despair of France’s working class.