His most recent of those is Salvatore: Shoemaker of Dreams, which follows the career and life of famous Italian designer Salvatore Ferragamo. Since his beginnings at the fringes of arthouse cinema, he has directed many documentaries alongside his feature film work. Guadagnino was not formally trained, but his attention to detail - color, sound, texture, shot-placement, blocking - is incredibly studied. He uses this gift to craft an atmosphere that mimics and illustrates the emotions and thoughts of his characters. Beyond his mastery of audiovisual storytelling, the director can somehow evoke touch, taste, and smell in a single scene.
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I can’t wait to do another movie with him, if he wants to do it.If there is one director who knows how to appeal to the senses, it's Luca Guadagnino. “His relationship with my editor was great and his commitment to this was amazing. “We were sending him material all the time,” said Guadagnino. Guadagnino said Yorke had an incredible interpretation of Dave Kajhanich’s script and threw himself completely into the project, including visiting set to see how it was being shot and constantly sending in a stream of material throughout the process. And that’s when I realized his concept of the soundtrack was really almost like a total piece of art that encompassed symphonic music, electronic music, songs, choruses- amazing.” So I said, ‘Oh my god, he wants to sing!’ But I never spoke to him about songs in the film. “I put the cue on and there was this beautiful melody and there was without words. “It is only after a few months of conversations, before shooting, sent me a few cues,” said Guadagnino. If Yorke said no, Guadagnino was resolved to lean once again on music of Adams and mix in some Pentrechky. The first step was to ask Yorke, who unlike bandmate Jonny Greenwood had never done a film score, if he would be interested. “Call Me By Your Name” mixed piano pieces by a collection of great composers, while Guadagnino invited Sufjan Stevens to write two original songs.
“A Bigger Splash” combined Adams music with songs by The Rolling Stones and Antonio Carlos Jobim. With “I Am Love” they leaned on the music of composer John Adams. So I promised myself never again was I going to work with a composer, never again.”įor his next films Guadagnino relied on a repertoire of well-established tracks handpicked by Fasano and himself. “I was watching something that was a voice I didn’t want. “The relationship between music and images is so important, that I up being in a place where I didn’t recognize my movie because my movie wasn’t there,” said Guadagnino. It wasn’t that he necessarily disliked the music, but that the score added a layer that altered the movie in a way the director never intended. The studio forced Guadagnino to hire a composer, a collaboration that left him scarred. Subscribe via Apple Podcasts to the Filmmaker Toolkit Podcast
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