[00:01:36,780] There's no question in my mind that Giorgio Armani, you know,
[00:01:40,820] ranks with a handful of designers
[00:01:43,020] as one of the great designers of, you know, this century.
[00:01:46,500] He made women feel sexy in a suit.
[00:01:52,350] And I don't think that I would be sitting here today wearing a suit
[00:01:55,390] if it were not for Giorgio Armani.
[00:01:57,910] He really revolutionized the way that women dress for work.
[00:02:02,110] And I think that the idea of women in the workforce
[00:02:06,510] and gaining the power that they've gained in the workforce
[00:02:09,030] is such a huge thing in this century.
[00:02:12,390] And the fact that a designer like Armani
[00:02:14,870] really clicked with that movement at a specific time in the 80s
[00:02:20,390] is so important.
[00:02:22,310] Giorgio Armani in the history of fashion is as important as Chanel,
[00:02:25,510] as important as Saint Laurent, as important as Dior.
[00:02:28,070] He changed the way people look.
[00:02:30,270] And that's really a rare quality.
[00:02:37,270] Giorgio set the uniform
[00:02:40,710] of dressing universal,
[00:02:43,910] global design, global appreciation of brand.
[00:02:47,990] You know, he's broken all the barriers.
[00:03:31,890] I think you would find that a real key to Giorgio's success
[00:03:36,130] besides his talent and besides his determination is his shyness.
[00:03:40,610] He is a very shy man.
[00:03:42,570] And shy people often like to work
[00:03:45,330] because it means they can be obsessed.
[00:03:47,130] They can surround themselves with very close intimates
[00:03:51,530] whom they can spend, you know, the entire day with, you know,
[00:03:54,970] from breakfast to dinner and all the way in between.
[00:03:58,450] Giorgio is a very shy man and loves to work in his house
[00:04:02,090] and to be surrounded by the people he feels comfortable with.
[00:04:04,690] And I think it's one of the reasons for his success.
[00:04:07,610] In addition to being shy, he's also obsessive.
[00:04:11,090] Giorgio Armani obsesses about everything.
[00:04:14,170] Obsesses about buttons. Obsesses about sleeves.
[00:04:16,810] Obsesses about, you know, an advertisement.
[00:04:19,250] Obsesses about a photograph. Obsesses about his image.
[00:04:22,090] He's of an obsessive personality. Another key to success.
[00:04:25,770] He's also determined. Giorgio Armani is fightingly determined.
[00:04:29,890] You can see it in those blue eyes, those steel blue eyes.
[00:04:32,330] He is determined. He knows what he wants and he's going to get it.
[00:04:36,650] He works harder than anybody I know.
[00:04:38,450] Giorgio Armani, for the first 20 years, didn't take a vacation.
[00:04:41,250] I mean, when Giorgio Armani is in Milan, he lives over the shop.
[00:04:45,970] Giorgio Armani thinks, breathes, eats his business.
[00:04:49,330] And that's why it's his success.
[00:04:50,930] No, it's a bit boring, I find it.
[00:04:53,250] Can you come back here first?
[00:04:56,600] For the chicken.
[00:04:58,640] They don't mix it like this, eh?
[00:05:01,960] He doesn't want you to do this.
[00:05:03,080] Some of them have been criticized by some of my colleagues.
[00:05:07,800] They call me like this a lot.
[00:05:10,320] Is that a lot of your condition by colleagues
[00:05:14,440] who like their models to look that way?
[00:05:17,000] He doesn't want that kind of attitude.
[00:05:19,080] They're beautiful men.
[00:05:20,440] Young. Young.
[00:05:22,400] Happy.
[00:05:23,680] You should be happy.
[00:05:24,760] Okay?
[00:05:30,100] Very often I get asked
[00:05:32,740] what pushes me to do my job.
[00:05:36,220] Still, at the age of five.
[00:05:38,580] You should do it fast, because now...
[00:05:40,380] And I answer simply by saying that it's probably
[00:05:44,900] the ultimate fear of losing the possibilities,
[00:05:49,980] of finding me in front of the truth of the kind
[00:05:55,380] at your age, maybe not in service,
[00:05:58,260] of showing that you're so good,
[00:06:00,100] because people have appreciated you in the past
[00:06:03,380] and even if you're not so brilliant now,
[00:06:06,140] you're not so inventive, you're not so creative,
[00:06:09,220] let's say that the creative arc
[00:06:12,260] has an arc installed in its life
[00:06:15,700] and then, of course, it goes down.
[00:06:17,420] It seems to me that giving up means giving up on life.
[00:06:21,620] My life is the life of work,
[00:06:23,740] especially giving up on work
[00:06:26,140] means giving up on being alive.
[00:06:28,740] And that's something you can't give up, yes.
[00:06:38,380] Come on, guys.
[00:06:39,980] Hurry up, I don't know what I'm going to do with you.
[00:07:19,270] I don't think there will be any new great ideas anymore.
[00:07:23,790] I can't talk about great ideas anymore,
[00:07:27,350] because even in the Moscow fashion world,
[00:07:29,590] it's been done a lot.
[00:07:32,070] And if you don't want to run in theatrical fetches,
[00:07:37,230] or in such a flat and evident way,
[00:07:41,230] so easy to exemplify,
[00:07:45,230] but so poor in creativity,
[00:07:48,630] I think the best thing in fashion
[00:07:50,710] is to find a form of assembly.
[00:07:53,710] 25 years ago, I loved this job
[00:08:58,070] as a neophyte could call it.
[00:09:00,950] Now, I love this profession in a completely different way.
[00:09:05,110] I love it, I hate it.
[00:09:06,190] I love it because it always imposes me
[00:09:08,310] to be, in some way, a master of under-judgment,
[00:09:12,030] so to be a creative person.
[00:09:13,950] I hate it because it takes me away from life,
[00:09:16,030] because I'm very busy,
[00:09:17,790] I'm busy psychologically
[00:09:20,070] feeling the obligation to think about my children,
[00:09:23,790] my dependents.
[00:09:25,350] Come on, guys.
[00:09:40,610] One, two, three, four, five, six, seven, eight.
[00:09:45,490] Thank you.
[00:09:46,290] It's okay, never mind, eh?
[00:09:49,890] No, no, no, no, no, no.
[00:09:51,890] No, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
[00:09:55,530] No, no, no, no, no, no, no, no, no, no, no, no, no, no.
[00:10:21,980] George Riemann has an obsession with Hollywood,
[00:10:23,780] and that is one of the keys to his success.
[00:10:27,460] One of the ways the world got to know George Riemann
[00:10:32,340] was through movies,
[00:10:33,700] was through his dressing movie stars.
[00:10:37,980] Movie stars were the first people
[00:10:40,620] to latch on to George Riemann to figure,
[00:10:42,940] ah, this is new, this is exciting, this is sexy.
[00:10:45,860] And they started wearing his clothes.
[00:10:47,340] I mean, there was times when, when we'd covered the Academy Awards,
[00:10:50,580] every single major star was wearing George Riemann.
[00:10:54,820] George Riemann was the very first to figure out
[00:10:57,660] that Hollywood was essential to making an image in fashion.
[00:11:02,580] Being a character, let's say, known to the public,
[00:11:05,900] a professional,
[00:11:07,660] certain events are obligatory to know the characters
[00:11:10,940] of other, other sectors,
[00:11:14,540] like actors, with some films.
[00:11:17,220] With others, however, the relationship can be more intense.
[00:11:21,900] But I have to say that, in general,
[00:11:24,140] the biggest privilege of the relationship
[00:11:26,700] is the most true one, if possible.
[00:11:29,900] What really has something to do with the feeling.
[00:11:36,020] It's not purely formal, purely aesthetic,
[00:11:39,180] it's probably just to document.
[00:11:42,380] I don't like it in an Amalfi,
[00:11:44,380] actually, the text is falsetal,
[00:11:47,740] building something that seems to be true and not English.
[00:11:51,180] I'm Marquez, I work for Gavin de Becker, Incorporated.
[00:12:06,450] I've been employed by Mr. Armani to be his protective agent
[00:12:09,250] during his stay in Los Angeles and his trip to Las Vegas.
[00:12:15,050] There was one other notable designer that was killed
[00:12:18,930] several years back, and, of course, threats.
[00:12:23,930] They then transcend to other designers throughout the US and the world
[00:12:27,850] as a result of that crime.
[00:12:33,100] The event also acts as an obligation,
[00:12:36,620] like having a bodyguard, a bodyguard that follows you.
[00:12:41,380] Certainly, in some ways, it limits you.
[00:12:43,420] In some ways, it limits you.
[00:12:45,420] And then it always makes you think
[00:12:47,700] that there can be someone unresponsive in front of you.
[00:12:50,420] It's not just always positive,
[00:12:53,300] it can be someone who, on the other side of the street,
[00:12:57,100] throws a negative message to you,
[00:12:59,580] or someone who takes advantage of you,
[00:13:02,260] or someone who makes friends with you and laughs at you.
[00:13:07,580] That's clear.
[00:13:09,420] You're loved, but sometimes you can also be hated.
[00:13:12,820] Bodyguard is something that creates a filter.
[00:13:19,300] Good morning.
[00:13:53,030] Let's go.
[00:13:54,430] Sergio Galeotti was the person who convinced me to give me a job.
[00:14:00,590] With Sergio Galeotti, he told me that you deserve more than what you have.
[00:14:05,190] You have something inside you that you can definitely show off.
[00:14:10,830] I started to think about this possibility.
[00:14:13,590] I decided to give this group a small stylistic job
[00:14:18,630] to start working freelance.
[00:14:21,910] Sergio was a great person next to me.
[00:14:24,950] He took care of the entrepreneurial aspect.
[00:14:28,710] I was the stylist and the creative one.
[00:14:31,830] He didn't have any commercial or relationship with lawyers
[00:14:37,510] or big shops.
[00:14:38,950] He improvised, like I improvised as a stylist.
[00:14:42,390] He improvised as an entrepreneur.
[00:14:44,470] He was a fantastic man for a few years, for many years.
[00:14:59,460] So, how are we doing?
[00:15:01,900] Are we doing well?
[00:15:04,580] Have you been tired? No.
[00:15:10,280] All this work is done by hand, of course.
[00:15:12,840] We don't have industrial cars, it's all a piece of cake.
[00:15:17,040] It's a beautiful job, I have to say,
[00:15:18,720] because you can really see the work of the girls and the women.
[00:15:23,560] With great love, I have to say, they take care of this.
[00:15:28,320] I'm sorry that when everything goes down in the theater,
[00:15:31,600] I don't see them anymore, and it seems to me
[00:15:34,480] that they've been very nice to them,
[00:15:36,480] because they're still working...
[00:15:37,920] I'm not used to this normality yet, no.
[00:15:41,880] This, it could be more wet, more contrasted.
[00:15:47,040] So, this is very, very shyly, but I love this.
[00:15:51,040] And I like this dry and soft, so you...
[00:15:55,240] I like this control area, I mean, I understand.
[00:15:58,880] I understand that this control area is beautiful.
[00:16:02,440] It's just colourful.
[00:16:04,600] The other thing is, you know, sometimes when you look at an area like that,
[00:16:11,000] maybe it's what goes on behind the area.
[00:16:14,120] So, maybe the thing is to actually do something that's down, very natural.
[00:16:19,400] Do you mean something more natural?
[00:16:21,600] Something more natural?
[00:16:24,200] Yes, natural, I mean, it's not too wet, it's too wet.
[00:16:28,560] So, what we do is we take that, we do that, and we try it a little bit.
[00:16:34,680] Oh, yeah, for first time, for me, that's about it, yeah.
[00:16:38,800] This is strong, and with the mouth, just the same, very nice.
[00:16:45,680] I love it.
[00:16:47,160] It's beautiful, isn't it?
[00:16:49,080] It's yours, no?
[00:16:50,280] It's beautiful, it's yours.
[00:16:51,880] This is natural?
[00:16:53,560] There's something...
[00:16:58,480] It's too high.
[00:17:01,080] This one is more continuous in the eye, you see? It's lower.
[00:17:04,640] This one is too high, it should be lower, it should be a little more like that.
[00:17:10,550] We could make it paler, you'd like to see it, maybe.
[00:17:13,670] Maybe it's too big.
[00:17:15,150] No, but behind the eyes I put a white effect.
[00:17:18,830] No, that's the way it dots.
[00:17:21,190] No, it's very beautiful, but I need a pencil.
[00:17:24,950] A pencil.
[00:17:26,830] The profile, excuse me, it's not strong, it's lower.
[00:17:30,230] It's fiddly, isn't it?
[00:17:31,750] No, it's not.
[00:17:32,950] Is it okay, or does it fit?
[00:17:34,630] The pencil isn't lower.
[00:17:36,230] We should still have the pencil lower, you have to see it.
[00:17:39,190] How do you open it?
[00:17:40,710] By the way, the width of the screw is like that.
[00:17:42,870] I don't feel it's too heavy.
[00:17:44,670] Yes, the weight will always be there, so you have to tighten it, you see?
[00:17:48,550] Since the weight is what it is, you have to tighten it.
[00:17:51,710] It's a bit sad, isn't it?
[00:17:53,830] It's a very important moment when the head is on a stand,
[00:17:59,270] ready, it comes to the sleeve to do its fitting.
[00:18:04,590] I have a relationship with the girls and I think it's very nice.
[00:18:08,110] I mean, at that moment I consider that between me and the girl,
[00:18:14,150] the dress must be a great intention.
[00:18:17,630] I don't want to get involved in the girl,
[00:18:20,270] I don't want to get involved in my style in the sleeve,
[00:18:23,430] but she has to be a support for my dress.
[00:18:27,190] So I have to find balance between these various reasons.
[00:18:31,750] I immediately see if the girl likes the dress she's wearing.
[00:18:35,990] If she likes the dress, this helps me a lot,
[00:18:40,390] because if the girl feels it, she brings it with pleasure,
[00:18:44,550] she feels qualified, she feels improved.
[00:18:47,350] If the dress doesn't like it, I have problems.
[00:18:49,710] I have problems because she has something on her back that doesn't come back.
[00:18:57,110] So sometimes it's the girl herself that determines my choice,
[00:19:01,470] the dress.
[00:19:02,990] When it happens that it works, then it's beautiful.
[00:19:12,220] But can he do that strip that he did on her to see?
[00:19:15,500] No, no.
[00:19:17,180] It's a simple way of doing it.
[00:19:19,180] Yes.
[00:19:20,300] I think...
[00:19:22,380] No, it's better as long as we have a room that's bright.
[00:19:26,260] No, it's better if we have a room that's brighter.
[00:19:29,060] Just a room, wherever we are, is bright.
[00:19:31,900] If we have a room that's brighter, it's quite...
[00:19:53,300] Do you still see the video?
[00:19:55,580] Do you still see the video?
[00:19:57,940] No? Here it goes.
[00:19:59,780] The tests, for me, are definitive.
[00:20:02,660] I'm telling you, the video is great to bring this shit to the boat, guys.
[00:20:06,060] Well, guys, but move, move.
[00:20:08,900] You still don't understand how I work.
[00:20:11,060] Tonight.
[00:20:12,420] Just look at the guys, you're looking at the thing.
[00:20:15,780] It's up, guys, it's up.
[00:20:19,740] I don't think it'll be nice to see these guys in front of the bar.
[00:20:24,500] Normally, when I say it because it's new,
[00:20:27,500] when I do things on my own, the night before is all right
[00:20:31,380] with Mr. Dino Trevisan.
[00:20:33,300] Let's see all the lights on and everything.
[00:20:36,500] So, for me, it's okay.
[00:20:38,100] Tonight it's not okay, because we're missing things, okay?
[00:20:42,420] Otherwise, Mr. Trevisan won't let me try.
[00:20:53,040] From 1 to 10, here, the first one here, I stop there,
[00:20:56,240] move forward, move forward, move forward.
[00:20:59,200] This one, move forward, and that one there.
[00:21:05,080] How many are there?
[00:21:07,160] I said, tomorrow we'll have the tests,
[00:21:08,960] that means the music, the lights.
[00:21:11,160] You can go to the club, but the music is the original.
[00:21:13,960] Yes, the music, at least you can hear it.
[00:21:16,560] Here, I can't see anything, I'm sorry, but you can see it, Claudio.
[00:21:26,400] Move forward, move forward.
[00:21:28,480] I think it's important to have given to the women's clothing
[00:21:30,920] the touch of disinvolving, of informal,
[00:21:35,000] of healistic, of male clothing,
[00:21:38,920] and of rational, of male clothing.
[00:21:42,560] With this, I don't mean to say I've masculinized the feminine fashion,
[00:21:46,360] but I've given the women a beauty
[00:21:50,200] that, in my opinion, has more men than women.
[00:21:53,600] Go on.
[00:21:54,680] The one on the side, you can mask them, but...
[00:21:58,600] You can mask them?
[00:22:00,840] No, you can mask them, because the girl is here.
[00:22:03,720] Here she is.
[00:22:05,000] I walk... Where do I walk, in your opinion?
[00:22:07,160] Well, we're tired, we're...
[00:22:20,170] We're obviously done with the show.
[00:22:22,250] And Ossio finds himself like this,
[00:22:23,730] and the eyes are a bit...
[00:22:26,850] central, right, Bravo?
[00:22:28,810] Yes.
[00:22:34,500] Do you live in Milan?
[00:22:36,220] Yes, yes, in Porto Romano.
[00:22:38,140] I have a apartment there, but...
[00:22:40,900] I can't find it, maybe three months in Milan.
[00:22:46,580] Wow.
[00:22:47,660] I want him to make good gestures in your magazine.
[00:22:52,780] What can he mean?
[00:22:56,780] How about that?
[00:22:57,860] And your mother. And your fucking mother.
[00:23:08,140] Dammit, Fred, it puts a normal on already.
[00:23:17,610] You must be on the rollercoaster, huh?
[00:23:19,610] Me? Me? More?
[00:23:24,690] Ciao.
[00:23:29,530] Thank you very much.
[00:23:31,610] You're welcome.
[00:23:33,690] You're full of luck, huh?
[00:23:38,770] When do you start?
[00:23:40,850] October 20th.
[00:23:42,930] Thank you very much.
[00:23:46,530] So, where do we want to take the photo?
[00:23:48,610] Where? Here?
[00:23:49,690] Simple.
[00:23:51,770] Simple.
[00:23:53,850] It's nice, you have to touch it, it's beautiful.
[00:23:59,530] Do you want backdrop? Do you want this backdrop?
[00:24:02,610] It's not in the studio.
[00:24:08,690] It's a pleasure. I'm Ricky.
[00:24:10,770] Congratulations. I'm Ricky.
[00:24:12,850] Ricky, Ricky.
[00:24:14,930] How's it going?
[00:24:17,010] A lot of work.
[00:24:19,090] It's a battle.
[00:24:21,170] You know, it's a time.
[00:24:23,250] Enjoy it, enjoy it.
[00:24:27,250] It's in your eyes, that's beautiful.
[00:24:29,330] That's great.
[00:24:33,330] That's it. That's it.
[00:24:35,410] That's all I need.
[00:24:40,010] It's so easy.
[00:24:42,090] That's good.
[00:24:44,170] I should have gone for a minute.
[00:24:46,250] This one?
[00:24:48,330] Let me see.
[00:24:50,410] Fishpaw.
[00:24:52,490] Bendis.
[00:24:54,530] The color is beautiful.
[00:24:56,610] It's beautiful too.
[00:24:58,690] And what is inside?
[00:25:02,770] It's hard to take a photo.
[00:25:04,850] Yes, but it was a great thing.
[00:25:06,930] I think it's the face.
[00:25:09,010] It's the face.
[00:25:11,090] He's been here since this morning.
[00:25:13,170] I've been here for four hours.
[00:25:15,250] It looks like you've been here.
[00:25:17,330] I like Sofia a lot.
[00:25:19,410] She's a woman who, beyond her ability to be an actress,
[00:25:24,490] is a great star who hasn't lived for a long time,
[00:25:27,570] who has only worked.
[00:25:29,650] She's dedicated exclusively to work
[00:25:31,730] and to her family,
[00:25:33,810] which is something I love a lot.
[00:25:35,890] But mainly to work, I think.
[00:25:37,970] She's been so serious about her confessions
[00:25:42,690] that I think she's something exceptional.
[00:25:46,570] She hasn't given up on anything in her life.
[00:25:49,850] She's still like that today.
[00:25:52,130] One day I said to myself,
[00:25:54,210] you're working for your salesmen.
[00:25:57,290] It's like telling me to take care of myself a bit more.
[00:26:01,370] This is something that makes me very close to her.
[00:26:04,450] When she comes down from the stairs of my house,
[00:26:07,530] she's applauded.
[00:26:09,610] She's applauded as a great star.
[00:26:11,690] She's shy.
[00:26:13,770] She's afraid.
[00:26:15,850] She says to her side,
[00:26:17,930] this makes me close to her.
[00:26:19,970] I think she'll make her...
[00:26:22,050] I like her very much.
[00:26:24,130] I don't know, I don't know.
[00:26:26,210] The three of you are always three.
[00:26:28,290] And we put three here and one here?
[00:26:30,370] That's what I think.
[00:26:32,450] Otherwise...
[00:26:36,130] I don't know.
[00:26:38,210] Is this one too?
[00:26:40,290] Yes, this one over there.
[00:26:42,370] When are you going to do it?
[00:26:44,450] When are you going to do it?
[00:26:46,530] When are you going to do it?
[00:26:48,570] I'm not perfecting this piece of shit.
[00:26:52,650] I was going to remove this one.
[00:26:54,730] I was going to...
[00:26:56,810] No, this one's not.
[00:26:58,890] This is your mom.
[00:27:00,970] No, no, no.
[00:27:03,050] I'm going to do it.
[00:27:05,130] I'm going to do it.
[00:27:09,610] I'm going to do it.
[00:27:11,690] I don't know.
[00:27:13,770] I'm going to do it.
[00:27:15,850] This is a big secret.
[00:27:18,850] Don't stay there.
[00:27:20,930] I'm always there and not there.
[00:27:23,010] Exactly. You're always there and not there.
[00:27:25,090] But when you want, you're super there.
[00:27:27,170] Yes, but when you want, you have to play.
[00:27:30,250] You have to play, but I'm always there.
[00:27:33,330] Bye.
[00:27:39,440] I'm going to do it.
[00:27:43,540] I'm going to do it.
[00:27:46,960] What's this?
[00:27:49,040] Come on, come on.
[00:27:51,120] Bye.
[00:27:53,200] Bye.
[00:28:47,060] In the fixtures done earlier today,
[00:28:50,140] one could think that you're worried about your ending.
[00:28:57,100] The same也是
[00:28:59,420] about making things more enjoyable.
[00:29:03,500] But you have to take care of the most meaningful things.
[00:29:08,580] And I have to say this is Irish one.
[00:29:12,420] I'm a person who never放 heart
[00:29:15,520] I don't give up, so I become a bad guy, a bad guy, so to speak.
[00:29:21,520] I become a bit irresistible when I see something that has left the case,
[00:29:25,520] that is not cured.
[00:29:27,520] You always put two things like this, please.
[00:29:30,520] If you don't translate me.
[00:29:33,520] You have to put two things like this.
[00:29:38,520] Everything.
[00:29:39,520] They come out like the end, like the closure.
[00:29:42,520] Wait, I have to say it, not all of you.
[00:29:45,520] I have to say it.
[00:29:46,520] Don't be sorry.
[00:29:48,520] So, maybe two more here.
[00:29:50,520] Again, maybe.
[00:29:59,140] I don't want to be late.
[00:30:02,140] Oh, fuck.
[00:30:03,140] So, don't tell me.
[00:30:10,140] No words.
[00:30:12,140] One hour of late, they're all in front of you.
[00:30:15,140] What the fuck, don't tell me.
[00:30:18,140] Come on, please.
[00:30:20,140] They're all here?
[00:30:21,140] Yes, they're all there, yes.
[00:30:23,140] Leo, don't fuck with me.
[00:30:25,140] They said one hour of late.
[00:30:27,140] What the fuck?
[00:30:28,140] Please.
[00:30:29,140] But they didn't tell me anything after.
[00:30:36,790] Fuck, I'm serious.
[00:30:39,790] I don't understand.
[00:30:43,870] One hour of late.
[00:30:45,870] They're all out.
[00:30:47,870] So, what happened now?
[00:30:55,150] So, I'm telling you, they're all out.
[00:30:57,150] Who's out?
[00:30:59,150] And who the fuck is it now?
[00:31:01,150] It's from the beginning that there's this new activity on the streets.
[00:31:05,150] So, I have to know it.
[00:31:07,150] I have to know it.
[00:31:09,150] The people who come here.
[00:31:12,150] It wasn't a surprise.
[00:31:15,150] It's hard, they're all out.
[00:31:18,150] And they want to say that it's too late.
[00:31:21,150] It's irregular.
[00:31:25,520] But what do they say?
[00:31:27,520] I understood.
[00:31:28,520] And they insist.
[00:31:29,520] They make me go to the Beastia.
[00:31:31,520] But what's the difference between me and them?
[00:31:40,110] No words.
[00:32:05,800] They're all out.
[00:32:06,800] It's black.
[00:32:07,800] What the fuck is it?
[00:32:09,800] It's not black.
[00:32:10,800] It's green.
[00:32:11,800] It's black.
[00:32:12,800] It's black.
[00:32:13,800] It's black.
[00:32:14,800] It's black.
[00:32:15,800] It's black.
[00:32:16,800] It's black.
[00:32:22,250] It's black.
[00:32:35,730] It's beautiful.
[00:32:47,340] The last moments, the times when the girls get in,
[00:32:49,340] and they seem perfect.
[00:32:51,340] You find the right hair,
[00:32:54,340] or you find the girl is innocent,
[00:32:59,340] and not focused.
[00:33:01,340] You just have to put something into it.
[00:33:04,340] It's like you're almost insulting sometimes.
[00:33:07,340] Why do we have to create such a tension?
[00:33:10,340] that you can see, you can see, you see, you see, you feel, you feel in the air.
[00:33:16,340] It must be a clock, the clock is a second after the other, a minute after the other,
[00:33:20,340] an hour after the other.
[00:33:22,340] And this is the style, as it should be, in my opinion.
[00:33:26,340] You can't leave it at home, nothing must be left at home.
[00:33:28,340] A drop of a gun, in some way, must be controlled.
[00:33:32,340] You can ask, as never before, about my tenority,
[00:35:28,160] but I still have this feeling,
[00:35:30,160] that is the fact of a great tension before the assault.
[00:35:34,160] As ever, after the experience, after the recognition,
[00:35:39,160] I'm still nervous, I'm still, in short, nervous, I'm back to me.
[00:35:45,160] Sometimes I'm also very hard on people who are back to me,
[00:35:50,160] maybe for a shock, for a small distraction.
[00:35:54,160] But I think that this is essential for the success of a challenge.
[00:35:59,160] I try to get rid of the angles, to be less,
[00:36:04,160] to make people understand that even if I'm hard on them,
[00:36:09,160] then I love them in some way and I want to be loved by them.
[00:36:12,160] So, a little bit of a game.
[00:36:14,160] The moment I laugh with them, I do a little of what they laugh at.
[00:36:44,960] It's Sophia.
[00:36:49,960] It's beautiful, but beautiful.
[00:36:54,960] I don't understand, I don't understand everything.
[00:36:56,960] Thank you.
[00:36:57,960] Hello.
[00:36:58,960] Everything's fine?
[00:36:59,960] Fine.
[00:37:00,960] Photo, photo, photo.
[00:37:04,960] Ah, Tina!
[00:37:05,960] Tina, wow!
[00:37:17,800] I don't really like to talk about the things I've done well,
[00:37:21,800] or that we still have.
[00:37:23,800] Me and my co-worker have done that.
[00:37:26,800] Because there's always a great expectation.
[00:37:30,800] For example, I don't want to see the video,
[00:37:32,800] because I imagine what I've done to see
[00:37:35,800] is always better than what I see
[00:37:37,800] realistically through a video.
[00:38:16,640] This is part of my life.
[00:38:18,640] The month of August I spent here is like a thing
[00:38:21,640] that is part of the way I feel about my life.
[00:38:28,630] It's like that, it's like that.
[00:38:31,630] I think it's actually unbearable.
[00:38:33,630] I couldn't have thought that I wouldn't spend a year here.
[00:38:36,630] It's really something.
[00:38:37,630] I started by saying that it's exhausting,
[00:38:40,630] this space, it's exhausting in this sense.
[00:38:42,630] I feel it so alive, so inside of me.
[00:38:46,630] And also because it represents the space
[00:38:49,630] where I live a completely different life for a month.
[00:38:53,630] A completely non-frenetic life,
[00:38:59,630] a life where I can leave myself to go
[00:39:02,630] and also these forms of romanticism,
[00:39:04,630] also the contemplation of a small plant,
[00:39:07,630] rather than an old bush,
[00:39:09,630] as I said before,
[00:39:10,630] rather than a wonderful mountain,
[00:39:13,630] or a folate of rock that bends the plains.
[00:39:20,630] Let's say that this is the most magical point of the house,
[00:40:07,860] the great pool and on the sea.
[00:40:11,860] And it's something that is inevitable,
[00:40:17,140] a place like this.
[00:40:18,140] The sea is quite difficult to reach.
[00:40:21,140] You want the mezzies,
[00:40:23,140] you want the rubber bands,
[00:40:25,140] you want the boats.
[00:40:31,590] I think that in an inculcable way
[00:40:34,590] I would know my house as mine.
[00:40:37,590] Because I made a bit of a rumor about my style,
[00:40:41,590] also about the way I created
[00:40:43,590] what is called the Armenian style,
[00:40:45,590] but a way of being rather than doing the real fashion,
[00:40:49,590] of appreciating certain things and not accepting others.
[00:40:53,590] I did this in a fashion, in my private life,
[00:40:56,590] and probably you can also see it in the houses
[00:40:59,590] that I have some kind of style.
[00:41:04,590] I think that you could notice
[00:41:06,590] mainly the care of the,
[00:41:08,590] a little bit of detail,
[00:41:10,590] surely of the particular
[00:41:12,590] that seems casual,
[00:41:14,590] but actually it is studied in a way
[00:41:16,590] that is perfect at that time.
[00:41:31,680] It loves being surrounded by young people
[00:41:33,680] because it drags energy,
[00:41:36,680] it takes energy from this sort of...
[00:41:39,680] A sponge.
[00:41:40,680] Yeah, it's like a sponge.
[00:41:42,680] And also because it learns from the young crowd, I think.
[00:41:45,680] It keeps them in touch with what's going on,
[00:41:47,680] what's happening, the way things are.
[00:41:50,680] I think it gives them a pulse,
[00:41:53,680] it gives them a strong feeling.
[00:41:55,680] That's also the reason why
[00:41:57,680] he's still so young inside.
[00:41:59,680] He's the energy of a 40-year-old man.
[00:42:01,680] He's amazing.
[00:42:44,200] Absolutely not.
[00:42:45,200] He's always much younger than people.
[00:42:47,200] Maybe it's because...
[00:42:50,200] Maybe it's because he was a bit
[00:42:52,200] in my own work,
[00:42:53,200] he had to teach,
[00:42:54,200] he had to show that he was tall,
[00:42:56,200] he had to invent,
[00:42:58,200] he was creative.
[00:42:59,200] Automatically,
[00:43:00,200] then you get the easy gesture
[00:43:02,200] of saying, you do this,
[00:43:03,200] you don't do that much.
[00:43:06,200] This is what people here
[00:43:09,200] feel,
[00:43:10,200] and I think it's a good,
[00:43:13,200] not just way of living.
[00:43:17,200] Of course, love is a very important thing.
[00:43:33,440] Being in love is a state of emergency
[00:43:35,440] that helps you.
[00:43:36,440] It helps you to live, to survive,
[00:43:38,440] it helps you to work,
[00:43:39,440] it helps you to be incentivized
[00:43:41,440] to do it,
[00:43:42,440] to show the person that you love
[00:43:44,440] to be one.
[00:43:45,440] But I'm sure
[00:43:47,440] I've created very difficult situations.
[00:43:50,440] I've also created
[00:43:52,440] some of the shortcomings,
[00:43:55,440] some of the shortcomings,
[00:43:57,440] some of the unsatisfaction
[00:44:01,690] which are very important to me.
[00:44:06,690] Because I've given you the impression
[00:44:09,690] of being very selfish,
[00:44:11,690] very egocentric,
[00:44:13,690] very...
[00:44:14,690] I've always thought about
[00:44:16,690] myself in this relationship.
[00:44:18,690] I don't make love all night
[00:44:20,690] because it hurts me in the morning and after.
[00:44:22,690] Maybe the other person loved doing motorbikes, and he didn't do it.
[00:44:28,690] So I said to myself, you don't do it because you want to be human.
[00:44:32,690] Try to be less human in this moment, to be the person I love more
[00:44:37,690] and forget to be human.
[00:44:39,690] But it's very difficult to forget to be human
[00:44:42,690] because you are forced to think about it.
[00:44:47,690] There are times when you can dedicate your thoughts.
[00:44:52,690] And in particular this season, I had a very sad circumstance
[00:45:01,690] and my mother died a few weeks ago.
[00:45:05,690] And this made me reflect on what is happening to me in life.
[00:45:13,690] I have reached a certain age, I have to think about the future of George Armani
[00:45:18,690] beyond my own person.
[00:45:20,690] To think about how to remain incredible for a few more years.
[00:45:47,400] Of course he worries about what's the answer, that's what I think he's trying to find.
[00:46:30,530] With a little less joy, you are more aware of it.
[00:46:34,530] Or maybe you do less swimming in the pool,
[00:46:37,530] you go less on the boat during the week.
[00:46:42,530] And at the same time you see that here it's increasing the green,
[00:46:48,530] it's becoming more beautiful, it's becoming more beautiful the space.
[00:46:51,530] There is this slight contrast between what you are
[00:46:56,530] changing unnecessarily,
[00:46:59,530] what is the place that will always be more beautiful in the future
[00:47:03,530] and maybe it will not be my anymore.
[00:47:06,530] At some point it will be someone else's,
[00:47:09,530] I will have to leave it to someone else.
[00:47:11,530] And this is very, very frustrating.
[00:47:14,530] We are at Piacenza, my city, where I was born.
[00:47:39,520] Where everyone remembers me as a child,
[00:47:41,520] it's a part of my youth.
[00:47:45,520] This is my home.
[00:47:48,520] I have not been here, I lived here for many years,
[00:47:50,520] here on the last floor.
[00:47:52,520] The years of the war, the famous years of the nightwakes
[00:47:57,520] and the descends in the underground, of the refuge.
[00:48:02,520] The most distant memory is of course my mother.
[00:48:06,520] The view of my mother, the scent of my mother.
[00:48:10,520] And some little friends, some little friends.
[00:48:14,520] We have been together for three or four years.
[00:48:18,520] It is also very connected to the fact that it was the moment of the war.
[00:48:22,520] My mother was a very important person in my life
[00:48:26,520] because she was very formative in my confrontations,
[00:48:31,520] without teaching me anything, without ever saying anything in particular,
[00:48:36,520] with her behavior, with her eyes at an opportune moment,
[00:48:40,520] with a few essential words.
[00:48:44,520] My father is a different person, much more reserved,
[00:48:48,520] very less, even though he is present in the family,
[00:48:51,520] he was really busy with his work
[00:48:53,520] and he was, in some way,
[00:48:56,520] much less influential in the education of the children.
[00:49:00,520] I think that between today it was an agreement
[00:49:03,520] to take care of the children, to take home bread.
[00:49:07,520] While it was really the bread problem, to eat,
[00:49:10,520] I worked for my father and we were five.
[00:49:13,520] I remember that one of the things I liked to do the most
[00:49:16,520] was to make the theater,
[00:49:18,520] to build a small stage
[00:49:21,520] where, in some way, I involved all those in the country,
[00:49:26,520] the boys of the boys of the country,
[00:49:28,520] we did the recitation, as you say.
[00:49:31,520] When my mother and my father arrived,
[00:49:34,520] we did a lot of theater.
[00:49:36,520] I was a little young,
[00:49:38,520] so I had this kind of feeling for the theater.
[00:49:42,520] The appointment in Paris is for the opening of the shop.
[00:50:13,210] This shop is a historic one,
[00:50:16,210] because many years ago, more than 12 years ago,
[00:50:20,210] I decided to be on this square.
[00:50:23,210] There were many couriers,
[00:50:25,210] and I wanted to do this business,
[00:50:27,210] the jewelry shop was already there for you.
[00:50:30,210] With the 12-year-old concepts,
[00:50:33,210] our sector is much more important.
[00:50:35,210] Many things change,
[00:50:37,210] so you have to move very quickly.
[00:50:39,210] So 12 years ago it was a discourse of today.
[00:50:49,510] I don't like to suffer,
[00:50:51,510] I just feel sorry for myself.
[00:50:53,510] I just put it there.
[00:50:55,510] That's it.
[00:50:59,300] Yes, I always put it there.
[00:51:01,300] Metal.
[00:51:06,180] I think this one doesn't go well.
[00:51:09,490] Grey.
[00:51:11,490] But grey.
[00:51:13,490] Only one.
[00:51:15,490] Yes, only one black.
[00:51:17,490] This grey is a little...
[00:51:19,490] Is it gone?
[00:51:21,490] There's still a little bit.
[00:51:24,490] I would say that Armani makes
[00:51:30,490] every important decision himself.
[00:51:32,490] I mean, I'm sure he'll listen,
[00:51:34,490] but in the end it's like
[00:51:36,490] anyone running an empire
[00:51:38,490] or a business,
[00:51:40,490] in the end you're responsible to yourself
[00:51:42,490] and I think that Giorgio
[00:51:44,490] makes all the final big decisions
[00:51:46,490] and he has to live with those
[00:51:48,490] and he has to
[00:51:50,490] know what he's doing
[00:51:52,490] and I think he probably enjoys it a great deal.
[00:51:54,490] But it's not that he's closed,
[00:51:56,490] but in the end
[00:51:58,490] he's the one that says yes or no.
[00:52:00,490] No, no, no.
[00:52:02,490] That one there, there are three,
[00:52:04,490] one is the only one here
[00:52:06,490] that I won't do anything to anyone.
[00:52:08,490] You have to bring it like this
[00:52:10,490] because you don't put it here,
[00:52:12,490] you put it here, look at it.
[00:52:18,490] It certainly proved to be a successful operation.
[00:52:20,490] It is about the cult of personality, however.
[00:52:23,490] It is about what Mr. Armani thinks
[00:52:26,490] and there's no way around that.
[00:52:28,490] You don't come into the house of Armani
[00:52:30,490] and it's going to be what I want to do.
[00:52:32,490] No, no, no. It's all about Giorgio.
[00:52:34,490] It's all about Giorgio's aesthetic.
[00:52:36,490] It's all about Giorgio's judgment.
[00:52:38,490] It's all about Giorgio's sense of where the business should go
[00:52:40,490] and people come in
[00:52:42,490] and are supportive of that
[00:52:44,490] or they leave very quickly.
[00:52:46,490] But it is about one man.
[00:53:00,490] It really comes from the store of...
[00:53:03,490] There is a part of it.
[00:53:05,490] And if you need it, you take it.
[00:53:07,490] The hands you want.
[00:53:09,490] No, Mr. Armani, it's a part of it.
[00:53:11,490] If you need it, you take it.
[00:53:13,490] It's a part of it.
[00:53:17,490] This is a strange combination.
[00:53:19,490] Do you combine it like this?
[00:53:22,490] If you want to combine it like this...
[00:53:24,490] No, it's beautiful.
[00:53:25,490] This color too, right?
[00:53:26,490] Yes.
[00:53:27,490] It's not good.
[00:54:01,920] Good.
[00:54:05,920] There is a tremendous sense of formality
[00:54:07,920] within the Giorgio Armani Empire.
[00:54:09,920] Staff who've been working for him
[00:54:11,920] maybe 10, 12 years
[00:54:13,920] still refer to him as Mr. Armani.
[00:54:19,920] I'm going to be...
[00:54:21,920] 44.
[00:54:23,920] 44.
[00:54:25,920] Oh, cheers.
[00:54:27,920] Cheers.
[00:54:41,640] I think once, it was fashion.
[00:54:43,640] It was a fashion that started at a level
[00:54:46,640] that in the Cascade,
[00:54:48,640] went down to the little coutures
[00:54:51,640] that made copies of the copies of the copies.
[00:54:54,640] Now it's very different.
[00:54:56,640] There are different ways of being fashionable,
[00:54:59,640] of being modern.
[00:55:01,640] We can also be retro,
[00:55:03,640] but it's enough to put a retro piece
[00:55:05,640] with a modern thing.
[00:55:14,640] I wanted to thank you for having me
[00:55:16,640] this morning because I know
[00:55:18,640] you have a lot, a lot of things to do.
[00:55:20,640] Yes, but that's okay.
[00:55:21,640] It's very good to talk to you.
[00:55:23,640] I'm happy to listen to you.
[00:55:25,640] I'll see you tonight.
[00:55:26,640] Thank you.
[00:55:27,640] I hope you have a nice party.
[00:55:29,640] Otherwise, we'll have the salons
[00:55:31,640] over there.
[00:55:32,640] We can hope
[00:55:34,640] we can have the party outside.
[00:55:36,640] We can have a party too.
[00:55:38,640] We can have a party.
[00:55:40,640] Thank you.
[00:55:57,030] You can make a gesture.
[00:56:01,030] A polite gesture.
[00:56:09,030] Thank you.
[00:56:30,160] The architectural principle of the store
[00:56:33,160] is my interpretation of Armani's period,
[00:56:36,160] of Armani's creativity,
[00:56:39,160] which is a fashion which is,
[00:56:42,160] at the same time, classical
[00:56:44,160] and yet very modern.
[00:56:46,160] It is a minimal architecture
[00:56:48,160] without a hard edge.
[00:57:09,160] The most obvious of all this space
[00:57:11,160] is the stone on the floor
[00:57:13,160] and the stone on the walls.
[00:57:17,160] All this to give a sense of continuity
[00:57:21,160] between the square and the store.
[00:57:45,980] Yes, there is no work.
[00:57:47,980] It seems hot.
[00:57:49,980] Thank you.
[00:57:50,980] Bye-bye.
[00:57:51,980] Bye-bye, thank you.
[00:57:52,980] Bye-bye.
[00:57:55,980] There's no one there.
[00:57:57,980] There's no one.
[00:58:01,450] There's no one.
[00:58:03,450] Only...
[00:58:05,450] Excuse me.
[00:58:06,450] When people arrive,
[00:58:08,450] you leave.
[00:58:10,450] There you go.
[00:58:13,450] When people arrive, you leave.
[00:58:20,580] You may be there.
[00:58:25,580] What I love about the shop
[00:58:27,580] is all about the stone.
[00:58:30,580] It's all by stone.
[00:58:32,580] It's truly going very well
[00:58:34,580] with the Place Vendôme.
[00:58:36,580] Inside, it's beautiful.
[00:58:37,580] The light is beautiful.
[00:58:38,580] It's very pure, very simple,
[00:58:40,580] but very harmony.
[00:58:44,820] Fantastic.
[00:58:46,820] Fantastic.
[00:58:48,820] How are you?
[00:58:50,820] Thank you very much.
[00:58:52,820] Thank you.
[00:58:53,820] Thank you.
[00:58:54,820] Very beautiful, very pure.
[00:58:55,820] Bravo, Giorgio.
[00:58:57,820] Bravo.
[00:59:28,230] How are you?
[00:59:29,230] How are you?
[00:59:30,230] I'm good.
[00:59:31,230] Good, good.
[00:59:32,230] How are you?
[00:59:33,230] Good.
[00:59:34,230] Good.
[00:59:35,230] Thank you.
[00:59:36,230] Thank you.
[00:59:37,230] No, no, no.
[00:59:38,230] Allergy.
[00:59:39,230] Allergy.
[00:59:45,230] I only shave once a week now.
[00:59:47,230] The baby is fantastic.
[00:59:49,230] Giorgio Armani actually gave us the seed money
[00:59:52,230] for the beginning, for the first episodes
[00:59:55,230] of the Italian documentary,
[00:59:57,230] the Italian film cinema documentary.
[00:59:59,230] But he's been sort of the godfather of the project.
[01:00:02,230] Mr. Armani and myself have talked about this for years.
[01:00:05,230] Actually, I think back around the early mid-80s,
[01:00:08,230] we started talking about ideas about
[01:00:10,230] kind of consolidating information about Italian cinema.
[01:00:14,230] It isn't necessarily a history of Italian cinema
[01:00:17,230] because, in a way,
[01:00:20,230] what I'm trying to do is express
[01:00:23,230] my love for Italian cinema,
[01:00:26,230] but also the impact it's had on me
[01:00:28,230] for the past 40 years.
[01:00:30,230] And it's kind of a parody of it.
[01:00:32,230] She leaves them.
[01:00:34,230] She leaves, yeah.
[01:00:36,230] Oh, just a Titan, Titan.
[01:00:39,920] That's beautiful.
[01:00:41,920] You can't stop.
[01:00:43,920] Every image is so great.
[01:00:45,920] I don't know what to cut out.
[01:00:47,920] That's beautiful.
[01:00:49,920] I remember seeing this in a drive-in
[01:00:51,920] in Tucson, Arizona with George Lucas.
[01:00:53,920] Really?
[01:00:54,920] Yeah, we loved it.
[01:00:55,920] I suppose that Fiscanti had to begin
[01:00:57,920] his careers in theater and opera
[01:00:59,920] before he could do his next film,
[01:01:01,920] Senso, made in 1954.
[01:01:16,160] The camera just pans on.
[01:01:18,160] Look at this.
[01:01:19,160] See, see, see?
[01:01:20,160] Look at this, with the buildings
[01:01:22,160] and the way she is formed like this.
[01:01:24,160] See?
[01:01:26,160] It's all the form.
[01:01:28,160] And this is a bad print.
[01:01:30,160] The color is very bad in this.
[01:01:32,160] See?
[01:01:34,160] It's nothing.
[01:01:35,160] And look at this, though.
[01:01:40,100] In other words, even though he loved
[01:01:42,100] the role of the great maestro,
[01:01:44,100] Fellini was too honest to fall
[01:01:46,100] for all the extravagant things
[01:01:48,100] that people were saying about him.
[01:01:50,100] It's his response to the material
[01:01:52,100] that we keep showing him.
[01:01:54,100] And I think he gives us an enthusiasm.
[01:01:56,100] And kind of,
[01:01:58,100] as the project gets a little bigger
[01:02:00,100] and bigger each time,
[01:02:02,100] it gives us the encouragement to go on.
[01:02:04,100] Thank you.
[01:02:06,100] Thank you for starting it.
[01:02:08,100] These guys are here.
[01:02:11,100] I know, I know.
[01:02:14,100] Good, good, good.
[01:02:16,100] Thank you, ma'am.
[01:02:18,100] Thank you.
[01:02:20,100] Hello.
[01:02:22,100] Sorry.
[01:02:24,100] I'm busy. I'm really busy.
[01:02:26,100] But I'm busy, busy.
[01:02:28,100] We're going to Guggenheim
[01:02:30,100] to verify some things
[01:02:32,100] based on the project
[01:02:34,100] that Guggenheim is working on.
[01:02:37,100] Guggenheim
[01:02:39,100] will hold a exhibition
[01:02:41,100] on the 25th anniversary
[01:02:43,100] of my activity
[01:02:45,100] in October.
[01:02:47,100] And I think it's a pretty
[01:02:49,100] exceptional thing
[01:02:51,100] because
[01:02:53,100] so much Guggenheim has never been
[01:02:55,100] close to fashion
[01:02:57,100] and it's the first time I've done it.
[01:02:59,100] And moreover,
[01:03:01,100] a exhibition for a living designer
[01:03:03,100] is a pretty exceptional thing.
[01:03:05,100] I'm a little proud
[01:03:07,100] because
[01:03:09,100] the museum is a witness
[01:03:11,100] that everyone recognizes.
[01:03:13,100] And it seems to me
[01:03:15,100] that from the idea
[01:03:17,100] that they have me
[01:03:19,100] in some way
[01:03:21,100] as a starting point
[01:03:23,100] and as a starting point
[01:03:25,100] it came out to be a very special thing.
[01:03:27,100] And then there's another factor.
[01:03:40,430] I've found myself in people
[01:03:42,430] who collaborate with me,
[01:03:44,430] and I don't have an alternative life.
[01:03:46,430] I don't have
[01:03:48,430] knowledge in the world
[01:03:50,430] even if I could have them
[01:03:52,430] I wouldn't always call them
[01:03:54,430] but I don't have that kind of life.
[01:03:56,430] And I think it's very ridiculous
[01:03:58,430] to start being different
[01:04:00,430] in my life.
[01:04:02,430] I think
[01:04:04,430] I really love it
[01:04:06,430] as I have behaved.
[01:04:08,430] I've played a little
[01:04:10,430] many roles
[01:04:12,430] maybe to escape myself
[01:04:14,430] to escape my true reality
[01:04:16,430] I don't know what my true reality is
[01:04:18,430] but I've played
[01:04:20,430] a little
[01:04:22,430] to be different from many times
[01:04:24,430] depending on how
[01:04:26,430] it has been
[01:04:28,430] I like how I've moved
[01:04:30,430] in life
[01:04:32,430] even if I've had
[01:04:34,430] some possibilities
[01:04:36,430] above my expectations
[01:04:38,430] I accept it
[01:04:40,430] in life.
[01:07:44,970] When there's no more light
[01:07:46,970] and you see Mr. Amani turning away
[01:07:48,970] you follow him.
[01:07:50,970] It's going to be dark
[01:07:52,970] but people are going to watch you anyway
[01:07:54,970] so be careful what you're doing
[01:07:56,970] and walk out.
[01:08:09,880] So just one after the other
[01:08:11,880] out here.
[01:08:13,880] And you stand there still
[01:08:15,880] until Mr. Amani comes out
[01:08:17,880] and he's going to dance.
[01:08:19,880] Where are the girls
[01:08:21,880] in the back?
[01:08:23,880] All the girls in the back?
[01:08:25,880] Okay?
[01:08:27,880] In a line, please.
[01:08:29,880] Okay?
[01:08:31,880] Let's put the others here
[01:08:33,880] so that everything is
[01:08:35,880] shot like this.
[01:08:37,880] Got it?
[01:08:39,880] It's beautiful, as I said, it's nice.
[01:08:41,880] TV's are like this.
[01:08:43,880] Yes, but there's
[01:08:45,880] a lot of skin.
[01:08:47,880] It's all dark, black.
[01:08:49,880] Don't worry.
[01:08:51,880] It's okay for me, it's okay for you.
[01:08:53,880] You haven't seen the final
[01:08:55,880] yet.
[01:08:57,880] This final is a final.
[01:08:59,880] One, two, three, go!
[01:09:01,880] Quickly, quickly!
[01:09:03,880] Go, go, go!
[01:09:05,880] Get out of there!
[01:09:07,880] Quickly, quickly!
[01:09:09,880] Up, up, up!
[01:09:11,880] Give me the light, please.
[01:09:13,880] Oh, we're finished?
[01:09:15,880] No, it's okay.
[01:09:17,880] There's no atmosphere,
[01:09:19,880] there's no atmosphere at all.
[01:09:21,880] There's too much light, too much...
[01:09:23,880] We have to look at it later.
[01:09:25,880] We must do it as a group.
[01:09:27,880] Evening, very, very...
[01:09:29,880] Emotional.
[01:09:31,880] We've got to clean the stage here.
[01:09:33,880] No, no, we haven't lost Brian.
[01:09:35,880] We can start now.
[01:09:37,880] Yes, we can start now.
[01:09:39,880] We've got an hour.
[01:09:41,880] Wait, wait.
[01:09:43,880] We'll have to look at the schedule.
[01:09:45,880] We'll have a discussion, okay, sure.
[01:09:47,880] We'll look at where we can start you back in the game.
[01:09:49,880] We've got to keep moving.
[01:09:51,880] Well...
[01:09:53,880] The problem is...
[01:09:55,880] It's a problem, excuse me.
[01:09:57,880] You have to see the lights as I say.
[01:09:59,880] If you want to see the light.
[01:10:01,880] Give me the time to do it,
[01:10:03,880] otherwise I won't turn on the light.
[01:10:05,880] You won't turn on the light,
[01:10:07,880] otherwise you can see the light.
[01:10:09,880] Here on time, the lights were late.
[01:10:11,880] Wasn't our fault the lights were late?
[01:10:13,880] Yeah, but we'll end up with...
[01:10:15,880] No, no, no.
[01:10:17,880] He's saying we've got to see the lights now,
[01:10:19,880] otherwise we can't do the show.
[01:10:21,880] Excuse me, man.
[01:10:23,880] Hello, Mother's Day.
[01:10:29,440] Oh, natural.
[01:10:31,440] Beautiful women, vast.
[01:10:33,440] Okay, vast.
[01:12:31,320] I always have contacts with these people
[01:12:33,320] who are physically atrocious.
[01:12:35,320] Many people are very...
[01:12:37,320] They are the characters of football
[01:12:39,320] in the age of characters.
[01:12:41,320] They are not so many players,
[01:12:43,320] they are often the characters.
[01:12:45,320] That's what makes me a bit spectacular.
[01:12:47,320] The fashion with football
[01:12:49,320] doesn't really matter,
[01:12:51,320] but there's a relationship between
[01:12:53,320] the players who are exposed
[01:12:55,320] and I'm exposed to my audience.
[01:13:36,110] This is my house
[01:13:38,110] in Brony, a house for the weekend.
[01:13:40,110] It's my first house in Rikkinson.
[01:13:42,110] But I really live it
[01:13:44,110] as a...
[01:13:46,110] as a countryside house
[01:13:48,110] and I want my guests to consider it
[01:13:50,110] as such a house
[01:13:52,110] that you can see outside.
[01:13:54,110] It looks like a family house,
[01:13:56,110] a house from generations.
[01:13:58,110] The paintings are missing,
[01:14:00,110] so the portraits
[01:14:02,110] could have that look.
[01:14:04,110] And that's what I enjoy a lot
[01:14:06,110] because I really live it
[01:14:08,110] as a game in this house.
[01:14:17,850] From here to an hour of car
[01:14:19,850] I'm back
[01:14:21,850] in my own dimension.
[01:14:23,850] A person who was born
[01:14:25,850] in an organized family
[01:14:27,850] with a few and a half
[01:14:29,850] but with
[01:14:31,850] an important family
[01:14:33,850] attention
[01:14:35,850] because I've always felt that.
[01:14:37,850] Good feelings
[01:14:39,850] I don't want to
[01:14:41,850] to suffer
[01:14:43,850] even if it's a problem
[01:14:45,850] I'm not rich
[01:14:47,850] I've arrived
[01:14:49,850] I've arrived because I've arrived
[01:14:51,850] but it wasn't the final goal
[01:14:53,850] of my life to have
[01:14:55,850] great economic means
[01:14:57,850] rather than power.
[01:14:59,850] I've always done my job
[01:15:01,850] and if my job led me to have this
[01:15:03,850] well, I say thank you for my job
[01:15:05,850] but it wasn't the exact goal
[01:15:07,850] of my life
[01:15:09,850] to have a weight
[01:15:11,850] I think the exact goal
[01:15:13,850] was to show that the dress
[01:15:15,850] at that time was right
[01:15:17,850] and that people appreciated
[01:15:19,850] that kind of dress
[01:15:21,850] and then the consequence was
[01:15:23,850] the success
[01:15:58,400] of arriving
[01:16:00,400] to be known in an international way
[01:16:02,400] so having
[01:16:04,400] this global eco
[01:16:06,400] really
[01:16:08,400] behaves
[01:16:10,400] a certain loneliness
[01:16:12,400] because people think
[01:16:14,400] you have a thousand commitments
[01:16:16,400] and they don't call you
[01:16:18,400] people don't approach you
[01:16:20,400] for scruples, to disturb you
[01:16:22,400] to create a problem
[01:16:24,400] to create a problem
[01:16:26,400] and so they don't approach you
[01:16:28,400] all of this
[01:16:30,400] behaves that you are alone
[01:16:32,400] people don't call you
[01:16:34,400] they don't ask you
[01:16:36,400] they don't know
[01:16:38,400] the poor words
[01:16:40,400] and often you are alone
[01:16:42,400] being alone means
[01:16:44,400] to lose your life
[01:16:46,400] being alone also means
[01:16:48,400] not living the quality of life
[01:16:50,400] not living the problem of the day
[01:16:52,400] to make a receipt
[01:16:54,400] to go to the bank
[01:16:56,400] to withdraw a document
[01:16:58,400] because you have said it
[01:17:00,400] for this
[01:17:02,400] so you have isolated yourself
[01:17:04,400] from the world
[01:17:06,400] and this sometimes scares me
[01:17:08,400] because I arrived
[01:17:10,400] with a change
[01:17:12,400] I can't have
[01:17:14,400] something drastic
[01:17:16,400] to lose my life