WEBVTT - Luca Guadagnino

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<v Speaker 1>You are listening to Ruthie's Table four in partnership with Montclair.

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<v Speaker 2>dot substack and subscribe. See you there. What I know

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<v Speaker 2>about Luca Guardonino is, of course the films he's made.

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<v Speaker 2>But what I know from Luca is how passionate he

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<v Speaker 2>is about food. Meetium over lunch just last week at

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<v Speaker 2>the River Cafe, we went straight into not what movies

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<v Speaker 2>he was making, but what food he was cooking. He

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<v Speaker 2>is Italian and he cares, friends tell me. In his

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<v Speaker 2>home in Piermonte, Luca has three kitchens, including one elaborately

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<v Speaker 2>equipped for pastries and a special room for keeping vinegar

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<v Speaker 2>and dried herbs from his garden. It's always full of people,

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<v Speaker 2>everyone gathering around the table and kitchen. He genuinely loves

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<v Speaker 2>cooking with friends, participating and enjoying the process. Our mutual friend.

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<v Speaker 2>Lorcan O'Neil says, Luca has a true instinct for friendship.

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<v Speaker 2>Food not only plays a strong role in his home life,

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<v Speaker 2>but an important role in his films, conveying sensuous desire

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<v Speaker 2>and transformation. The prawns and I Am Love the Peach

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<v Speaker 2>and call me by your name, the churros and Challengers.

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<v Speaker 2>We're here today in the one kitchen I have in

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<v Speaker 2>my home to talk about food and memories, food and film,

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<v Speaker 2>food and family. A beginning to a new friendship, one

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<v Speaker 2>cook to another.

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<v Speaker 1>Wonderful. I'm so happy to be here.

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<v Speaker 2>It's so nice to have you here so fast. We

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<v Speaker 2>just saw each other two weeks ago. And you're back

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<v Speaker 2>in London. You're going to come back more often.

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<v Speaker 1>The first time in Vaccines I saw you.

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<v Speaker 2>Oh, you're going to come back more. When's the next time?

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<v Speaker 1>That's what I h I.

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<v Speaker 3>Hope very soon I might be coming back and stay

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<v Speaker 3>because I might do a movie in London. I did

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<v Speaker 3>a movie last year.

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<v Speaker 2>Yeah, what was that?

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<v Speaker 3>It's After the Hunt? Yes, starring Julia Roberts and Yes

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<v Speaker 3>are you Debuery and Andrew Garfield, l Seviny, Michael Stohlberg.

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<v Speaker 1>And there was a great experience and I love to

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<v Speaker 1>be in London. I was great about it, you know,

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<v Speaker 1>like first of all, to be in the summer in London.

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<v Speaker 3>It's good for me because I cannot stand the heat,

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<v Speaker 3>so I like that the temperature here, okay, and the

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<v Speaker 3>quality of water.

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<v Speaker 2>What we don't like about London summer?

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<v Speaker 1>Oh my god, I can trade place.

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<v Speaker 2>Yeah. And then what else is the.

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<v Speaker 1>Quality of work? Amazing amazing crafts. Yeah.

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<v Speaker 2>I used to say that independent films were used to

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<v Speaker 2>be made in Europe, the small films and the big

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<v Speaker 2>ones in La, and now it's changing. Everybody wants to

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<v Speaker 2>make a movie here La.

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<v Speaker 1>I don't think they do any longer, any movies.

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<v Speaker 3>But basically it's like impossible because of the very expensive

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<v Speaker 3>nature of the business.

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<v Speaker 2>There Brown, who's the prime minister here fifteen years ago,

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<v Speaker 2>maybe he brought in the idea of lowering the tacks

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<v Speaker 2>for making citys. You walk into the River Cafe, you know,

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<v Speaker 2>you see everybody, you know, Noah and Greta here, you

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<v Speaker 2>were here, Julia Roberts is making another film. Yeah, the

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<v Speaker 2>Alejandro is here, and jj Abrams is here. It's like

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<v Speaker 2>walking into a kind of canteen.

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<v Speaker 3>You know, it's a bit of quality of one nice

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<v Speaker 3>and good prices.

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<v Speaker 2>What about in Italy are they making?

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<v Speaker 3>Probably Italy that the quality of life is very good

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<v Speaker 3>and we have very good craftsman in Italy, but unfortunately

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<v Speaker 3>we don't have a very we have a short sighted

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<v Speaker 3>politics at play there.

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<v Speaker 2>Because the tradition in Rome. I mean it was amazing.

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<v Speaker 3>I shot the movie in which is my previous one, Queer,

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<v Speaker 3>I fulfill these kind of fantasy of making a movie

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<v Speaker 3>entirely shot on stage in China.

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<v Speaker 1>Chita voll interior interiorn next theeries.

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<v Speaker 3>I think we had like ten stages. We built in

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<v Speaker 3>the back loot, in the front lot. We even there

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<v Speaker 3>was a sort of big heel of dirt that we

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<v Speaker 3>took over and we created a jungle over there, and

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<v Speaker 3>it was fascinating, but almost for the remembrance of things

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<v Speaker 3>passed and more than the energy of the now.

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<v Speaker 2>Beau just did Felini and ANTONIOI?

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<v Speaker 1>Did they make all their Realini for sure?

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<v Speaker 3>ANTONIOI, I would say maybe not, but Pelini for sure.

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<v Speaker 2>So we would love to read. You know, we always

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<v Speaker 2>try and start even the beginning of the conversation, because

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<v Speaker 2>that's how this podcast started. It was during COVID. The

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<v Speaker 2>idea originally it was just to read a recipe every day,

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<v Speaker 2>and then the idea was to say, well, how do

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<v Speaker 2>you segue from the recipe to this story of your

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<v Speaker 2>life through food. So we want to talk about cinema,

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<v Speaker 2>and we want to talk about Italy, and we want

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<v Speaker 2>to talk about everything, but it's the kind of getting

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<v Speaker 2>to understand who we are through our experience memories food, which.

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<v Speaker 1>Is everything I think you think it is.

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<v Speaker 3>I think so memory of meals, memory of food, memory

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<v Speaker 3>of the tight, tactile experience of food, the smells, the texture.

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<v Speaker 3>I think it constitutes. And I'm not talking about fancy

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<v Speaker 3>food per se. I'm talking about the idea of nourishment

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<v Speaker 3>or the deprivation of nourishment. It's really like one of

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<v Speaker 3>the things that makes us universally linked as people.

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<v Speaker 1>So I do agree with you completely.

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<v Speaker 2>A memory.

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<v Speaker 3>Yeah, when my father was dying, I flew when I

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<v Speaker 3>was in twenty twenty, during lockdown, I flew to Sicily

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<v Speaker 3>where he was born, in his village, and I walked

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<v Speaker 3>toward the building where he grew up, where he was

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<v Speaker 3>born and grew up and where I spent a lot

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<v Speaker 3>of summers when I was very little, and I could

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<v Speaker 3>distinctively remember in my mind and still now I can

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<v Speaker 3>the smell of mold and grapes be dried coming from

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<v Speaker 3>a storage place in the building. So I went into

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<v Speaker 3>the building and I could enter and the smell came

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<v Speaker 3>back to me in its physical presence and was incredible.

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<v Speaker 2>Is that And your father was drying in a hospital somewhere.

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<v Speaker 1>Else, Yeah, he was in Milano.

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<v Speaker 3>I could come back home fun and and see him

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<v Speaker 3>going to help.

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<v Speaker 2>It. Never smell, nothing helps, Nothing helps, but the smell

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<v Speaker 2>that you could feel.

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<v Speaker 3>Now it's like a legacy and something that I makes

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<v Speaker 3>me have him close, even the memory of that.

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<v Speaker 1>You went to Ethiopia, and I was supposed.

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<v Speaker 3>To be born in Ethiopia, but for I came out earlier,

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<v Speaker 3>so like seven months in August, I had to be

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<v Speaker 3>a Leo.

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<v Speaker 1>There was no way around it. I'm a cancer also closed. Yeah.

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<v Speaker 1>I like cancer women. I don't like men.

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<v Speaker 2>I have a friend that went to she went to

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<v Speaker 2>La and she called that's the hotel to find her babysitter.

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<v Speaker 2>And the baby said, well, I can babysit, but I

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<v Speaker 2>need to know the sign of the baby first.

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<v Speaker 1>I agree. Oh, come on, I mean scorpio woman. Impossible,

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<v Speaker 1>my mom.

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<v Speaker 2>Okay, we'll get back to the side you went. You're

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<v Speaker 2>born a Leo in Ethiopia.

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<v Speaker 1>Yes, and then moved in September.

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<v Speaker 2>You were born in Palermo.

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<v Speaker 3>Palermo, and then with you too, Abeba, when I was

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<v Speaker 3>two months and I spent the first five years of

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<v Speaker 3>my life there.

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<v Speaker 2>Can you remember the smells of ethiop Oh yeah, what

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<v Speaker 2>were they like?

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<v Speaker 1>Well, I mean I can. I don't know.

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<v Speaker 3>I don't know how to describe a smell, but I

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<v Speaker 3>remember very well the smell of the garden. I remember

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<v Speaker 3>the smell of the pets we had.

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<v Speaker 1>Which was also big turtle. We had a big turtle

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<v Speaker 1>as a pet.

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<v Speaker 3>I can remember the smell of the coffee being roasted outside.

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<v Speaker 3>I can remember the food and gera and jera is

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<v Speaker 3>very tangy smell.

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<v Speaker 2>Very good food Ethiopia.

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<v Speaker 1>Yes, amazing. The sweets of the onions mixed.

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<v Speaker 3>With the with the with the powdery smell of the barberret.

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<v Speaker 3>It's Fantasticbara is a mixture of spices that is typical

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<v Speaker 3>of the of Ethiopian kitchen. It's very red and it's

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<v Speaker 3>used for the door watt, which is a chicken stew

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<v Speaker 3>or for the lamb or beef stew called ziguiney.

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<v Speaker 2>Wonder why Ethiopia.

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<v Speaker 3>My father was really restless. He met my mother when

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<v Speaker 3>he was teaching. He was a professor in Casablanca and

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<v Speaker 3>my mother is was living there.

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<v Speaker 1>She was she grew up in Morocco. She's Algerian, but

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<v Speaker 1>she grew up in Morocco.

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<v Speaker 3>And then once I was born, he wanted to do

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<v Speaker 3>another adventure abroad, so he got a post in a disabeba.

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<v Speaker 2>Are you an only child?

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<v Speaker 1>No, I am the last of three.

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<v Speaker 2>Three so all three of you went to Etho.

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<v Speaker 1>Yeah. Yeah, every now and then I do and you

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<v Speaker 1>get the green Yes?

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<v Speaker 2>Is that what you keep in your special kitchen?

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<v Speaker 3>I do have a lot of you know that I

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<v Speaker 3>have like a collection of spices.

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<v Speaker 1>Yeah, you have a very large yeah.

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<v Speaker 3>And then I have made with the wonderful people at

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<v Speaker 3>Ninfenburg in Munich. They sourced from their archives those jars

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<v Speaker 3>made for Apotheke in porcelain. And I asked them how

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<v Speaker 3>many sizes you have and they had every sizes because

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<v Speaker 3>these Ninfenburg gits four hundred years so they used to

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<v Speaker 3>make them for Apoteke. So that for me, like I

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<v Speaker 3>don't know ten kilos to ten grains, and I made

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<v Speaker 3>two hundreds of them for my kitchen, from ten kilos

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<v Speaker 3>to to twenty grames.

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<v Speaker 2>How long does the ten kilos stay good? I mean

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<v Speaker 2>do they.

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<v Speaker 3>Stay I cook a lot, so if you put ten

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<v Speaker 3>kilos of flour, maybe it's gonna last two weeks or

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<v Speaker 3>even less.

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<v Speaker 2>I think the only youse tried a bit of dried

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<v Speaker 2>time and a bit of dried regular or recana. But

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<v Speaker 2>I don't think we in narc should we do the freshers.

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<v Speaker 2>We don't use you know, kind.

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<v Speaker 1>Of cooking we do, yes, but you do use spices.

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<v Speaker 2>You're not marriage close human use core.

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<v Speaker 3>The world of spices is so wide, Yeah, amazing beautiful smells.

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<v Speaker 2>So the recipe that you chose to read today.

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<v Speaker 1>Is I chose from all the beauty.

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<v Speaker 2>That was our thirtieth birth birthday.

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<v Speaker 1>So beautiful.

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<v Speaker 3>I chose tierini with asparagus and herbs. There's a wonderful

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<v Speaker 3>lady on the picture on the left side. Who's this

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<v Speaker 3>lady that.

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<v Speaker 2>Is FASTI arm it? Who's the manager of the River Cafe.

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<v Speaker 3>The River Cafe is an incredible table. You eat so well,

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<v Speaker 3>they're good.

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<v Speaker 2>Thank you. We have to eat more. So would you

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<v Speaker 2>like to read the recipe, which.

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<v Speaker 1>Is a recipe, and then we're going.

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<v Speaker 2>To talk about some fresh pastad.

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<v Speaker 3>Yeah, I mean you call them tierini and they are

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<v Speaker 3>technically called tierine and.

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<v Speaker 1>It's Pimontes pasta.

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<v Speaker 3>And I am, as you said before, I live in Pimonte,

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<v Speaker 3>and you the typical way of using tierne is with

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<v Speaker 3>truffle when the season is right. It's very thin and

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<v Speaker 3>very sturdy kind of pasta. So tierne with asparagus and herbs.

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<v Speaker 3>This is for six six hundred and seventy five grains

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<v Speaker 3>of thin asparagus pears, which could be also wild asparagus if.

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<v Speaker 1>You can find them.

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<v Speaker 2>We try and get that. It's not so easy.

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<v Speaker 3>My friend Camillo, who is the gardener in my house,

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<v Speaker 3>his father who harvests collects from the nature's wild herbs,

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<v Speaker 3>brought me wild asparagus.

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<v Speaker 2>Last week, so already I have it in the season

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<v Speaker 2>now because we just got green asparagus today.

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<v Speaker 3>So everything's really I know, four garlic clothes. I think

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<v Speaker 3>this is too much, I would say one.

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<v Speaker 1>Can I Yeah, I love it.

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<v Speaker 2>I am nothing like an Italian teaching me how to cook.

0:11:51.520 --> 0:11:53.439
<v Speaker 1>Yeah, I really appreciate it. I'm not teaching you. I'm

0:11:53.440 --> 0:11:54.600
<v Speaker 1>saying just the balance.

0:11:54.960 --> 0:11:57.280
<v Speaker 3>If I put the proportion of the number the games

0:11:57.280 --> 0:11:59.600
<v Speaker 3>of asparagus, I think one garlic cloves would be enough.

0:11:59.679 --> 0:12:03.080
<v Speaker 3>Four tablespoons of chopped I love it, chop mix.

0:12:03.160 --> 0:12:04.959
<v Speaker 2>Wait till I go see your movie. I'm going to

0:12:05.040 --> 0:12:06.000
<v Speaker 2>give you some advice.

0:12:06.640 --> 0:12:08.040
<v Speaker 1>I want all the advice.

0:12:09.200 --> 0:12:13.080
<v Speaker 3>Four tablespoons chopped mix, fresh herbs, basil, mint, parsley, oregano,

0:12:13.200 --> 0:12:16.040
<v Speaker 3>fantastic one millimetery double cream.

0:12:16.320 --> 0:12:18.480
<v Speaker 1>And in England you have the incredible double cream.

0:12:18.600 --> 0:12:21.200
<v Speaker 2>That's one thing we have that fans. We have crimb fresh.

0:12:21.480 --> 0:12:22.240
<v Speaker 2>You don't have it at all.

0:12:22.400 --> 0:12:23.559
<v Speaker 1>No, we have like you.

0:12:23.520 --> 0:12:26.120
<v Speaker 2>Get those little the cream that's in those packets that's

0:12:26.200 --> 0:12:27.160
<v Speaker 2>last for years.

0:12:27.600 --> 0:12:27.840
<v Speaker 1>Yeah.

0:12:28.040 --> 0:12:30.360
<v Speaker 3>But even if even the fresh one is not as

0:12:30.520 --> 0:12:33.640
<v Speaker 3>thick and good as the one you find here, fair

0:12:33.720 --> 0:12:37.640
<v Speaker 3>enough two tablespoons of olive oil, fifty grams of unsalted butter,

0:12:38.120 --> 0:12:41.440
<v Speaker 3>two hundred and fifty grams tierine or tale, one hundred

0:12:41.440 --> 0:12:45.240
<v Speaker 3>and twenty grams of freshly grated parmesan cheese. Trim or

0:12:45.280 --> 0:12:48.800
<v Speaker 3>snap off the tough ends from the asparagu spears. Finally,

0:12:48.840 --> 0:12:51.200
<v Speaker 3>chop the asparagus all together with one of the garlic

0:12:51.280 --> 0:12:54.880
<v Speaker 3>clothes and the herbs. Bring the cream to the boil

0:12:54.920 --> 0:12:57.000
<v Speaker 3>in a saucepan with the rest of the whole garlic clothes,

0:12:57.040 --> 0:13:00.240
<v Speaker 3>and simmer until the clothes are soft. Remove from the

0:13:00.280 --> 0:13:02.400
<v Speaker 3>heat to discard the galic. So I changed my mind.

0:13:03.880 --> 0:13:06.080
<v Speaker 3>It's actually good to have four gathered clothes and.

0:13:06.080 --> 0:13:08.600
<v Speaker 2>Then meeting them this way and then throw them away.

0:13:08.880 --> 0:13:09.719
<v Speaker 1>I apologize.

0:13:10.640 --> 0:13:13.760
<v Speaker 3>You know what, Bernard Bertolucci, we used to say only

0:13:13.800 --> 0:13:15.280
<v Speaker 3>a sole they don't change their mind.

0:13:15.480 --> 0:13:16.720
<v Speaker 1>I agree, So you see.

0:13:17.360 --> 0:13:19.080
<v Speaker 2>But I have to say that I haven't looked at

0:13:19.080 --> 0:13:21.520
<v Speaker 2>that recipe for a long time, so I accepted that

0:13:21.559 --> 0:13:23.440
<v Speaker 2>I forgot that we took it out. We do that

0:13:23.559 --> 0:13:25.880
<v Speaker 2>quite often when we use the cream, like when we

0:13:25.920 --> 0:13:27.199
<v Speaker 2>do for sure the cream.

0:13:27.920 --> 0:13:30.880
<v Speaker 1>Yes, so we take the aroma. Yeah, I think it's great.

0:13:31.920 --> 0:13:34.280
<v Speaker 3>Heat the olive oil and butter in a separate large

0:13:34.280 --> 0:13:38.000
<v Speaker 3>saucepan and fry half of the chopplatea sparagus for five minutes,

0:13:38.000 --> 0:13:41.600
<v Speaker 3>steering at the rest of the chopping the sparagus, followed

0:13:41.600 --> 0:13:44.400
<v Speaker 3>by the flavored cream. Bring to the boil, then reduce

0:13:44.440 --> 0:13:46.640
<v Speaker 3>the heat and simmer until the cream begins to thicken,

0:13:46.760 --> 0:13:47.600
<v Speaker 3>about six minutes.

0:13:47.720 --> 0:13:49.839
<v Speaker 1>Season Remove from the heat and keep warm.

0:13:50.600 --> 0:13:52.920
<v Speaker 3>Cook the path in a generous amount of boiling water,

0:13:53.120 --> 0:13:56.520
<v Speaker 3>salted and then drain too roughly. Add to the sauce

0:13:56.520 --> 0:13:59.520
<v Speaker 3>along with about half of the parmesan, and tossed together

0:14:00.280 --> 0:14:01.400
<v Speaker 3>with the remaining parmesan.

0:14:01.559 --> 0:14:03.320
<v Speaker 1>Great recipe when you cook.

0:14:03.400 --> 0:14:06.199
<v Speaker 2>Do you think when you're in Piedmonte and you're making

0:14:06.200 --> 0:14:08.520
<v Speaker 2>me lunch, what would you make If you were saying, ruthy,

0:14:08.559 --> 0:14:10.079
<v Speaker 2>I'm going to show you something from.

0:14:09.880 --> 0:14:11.640
<v Speaker 1>The region, I would make you.

0:14:12.160 --> 0:14:14.719
<v Speaker 3>Do you like to sweets the SERTs, I would make

0:14:14.760 --> 0:14:18.680
<v Speaker 3>you a coppa. The Carama diras, which translates into a

0:14:18.720 --> 0:14:24.920
<v Speaker 3>cup of Syra's cream is a ricotta cheese create produced

0:14:25.040 --> 0:14:27.840
<v Speaker 3>only in Again and that part of the Pimonte where

0:14:27.840 --> 0:14:33.120
<v Speaker 3>I live. And it's super thin and almost like double

0:14:33.200 --> 0:14:37.160
<v Speaker 3>cream kind of texture, but it's ricotta. And I found

0:14:37.160 --> 0:14:42.280
<v Speaker 3>these in this book. This all ancient aristocratic recipe where

0:14:42.320 --> 0:14:50.280
<v Speaker 3>you mix the ricotta with raisins, cinnamon, nutmeg, a little

0:14:50.280 --> 0:14:53.200
<v Speaker 3>bit of double cream, and then you break some savoyard

0:14:53.640 --> 0:14:55.200
<v Speaker 3>biscuits and rum.

0:14:55.280 --> 0:14:56.080
<v Speaker 1>It's super good.

0:14:56.480 --> 0:14:58.800
<v Speaker 2>You getting run the biscuits and rum or do you

0:14:58.800 --> 0:14:59.800
<v Speaker 2>add the raum no.

0:14:59.840 --> 0:15:02.280
<v Speaker 3>I and the rum to the cream I think the

0:15:02.400 --> 0:15:05.760
<v Speaker 3>it's goods to be broken and put with the cream

0:15:06.280 --> 0:15:08.720
<v Speaker 3>makes this crunchy thing that is good nice.

0:15:09.160 --> 0:15:11.240
<v Speaker 2>So what do you think about that recipe? Then you

0:15:11.680 --> 0:15:13.240
<v Speaker 2>prove of the garlic, I thought.

0:15:13.040 --> 0:15:14.960
<v Speaker 1>Don't improve. I approved the recipe.

0:15:15.200 --> 0:15:18.720
<v Speaker 3>I love the way in which you you thick the sauce,

0:15:18.840 --> 0:15:22.440
<v Speaker 3>you make the cream thick. I like the way you

0:15:22.560 --> 0:15:27.560
<v Speaker 3>chop the asparagus is because that bleeds into the cream

0:15:27.880 --> 0:15:32.360
<v Speaker 3>and makes the cream being riped with the safe the

0:15:32.400 --> 0:15:36.560
<v Speaker 3>taste of the which is like sweet and slightly bitter,

0:15:36.800 --> 0:15:37.360
<v Speaker 3>which I love.

0:15:38.040 --> 0:15:41.360
<v Speaker 2>And you're really an amazing, incredible palate. So when you're

0:15:41.400 --> 0:15:44.600
<v Speaker 2>growing up, just tell me going back from Ethiopia and

0:15:44.640 --> 0:15:47.400
<v Speaker 2>you describe the smells and the food and the recipes

0:15:47.600 --> 0:15:49.320
<v Speaker 2>which you've stayed with you all your life. But you

0:15:49.360 --> 0:15:53.040
<v Speaker 2>went back to and what was that like? There was

0:15:53.320 --> 0:15:54.320
<v Speaker 2>did your mother cooked?

0:15:54.400 --> 0:15:57.160
<v Speaker 1>My father? Your father did the cooking, Oh, very much

0:15:57.440 --> 0:16:01.240
<v Speaker 1>a lot. What did he make everything? He was cooking

0:16:01.280 --> 0:16:05.880
<v Speaker 1>every day and he was cooking a lot, like you,

0:16:05.920 --> 0:16:07.400
<v Speaker 1>more than what we needed.

0:16:07.280 --> 0:16:09.040
<v Speaker 2>For three children.

0:16:09.560 --> 0:16:12.680
<v Speaker 3>Yeah, but it was a large meals or larger recipes.

0:16:12.760 --> 0:16:13.640
<v Speaker 2>But he was a teacher.

0:16:14.080 --> 0:16:14.800
<v Speaker 1>He was teaching.

0:16:14.880 --> 0:16:16.880
<v Speaker 3>It was coming back home at one, and he was

0:16:16.920 --> 0:16:18.520
<v Speaker 3>cooking all day.

0:16:18.760 --> 0:16:19.520
<v Speaker 2>What about your mother?

0:16:19.760 --> 0:16:22.880
<v Speaker 3>My mother was more like shy in the kitchen, probably

0:16:22.880 --> 0:16:25.400
<v Speaker 3>because my father was very Yeah, she cooked a lot

0:16:25.480 --> 0:16:28.280
<v Speaker 3>of Moroccan in time to time. She told me how

0:16:28.320 --> 0:16:32.440
<v Speaker 3>to do crap which is desturded. I love French crab,

0:16:32.800 --> 0:16:33.360
<v Speaker 3>French crap.

0:16:33.600 --> 0:16:35.040
<v Speaker 2>What was the technique do you remember?

0:16:35.600 --> 0:16:39.080
<v Speaker 1>Yeah? I think you have to do it so that

0:16:39.320 --> 0:16:39.840
<v Speaker 1>once you have.

0:16:39.920 --> 0:16:44.760
<v Speaker 3>Created the butter butter, he said, butter with the milk, eggs,

0:16:45.160 --> 0:16:47.760
<v Speaker 3>a little bit of sugar, a little bit of butter,

0:16:49.160 --> 0:16:54.640
<v Speaker 3>you let it rest for one day near a like

0:16:55.600 --> 0:16:57.960
<v Speaker 3>how do you call that radiator?

0:16:58.080 --> 0:17:00.720
<v Speaker 1>So the heat makes that the butter ferment.

0:17:01.640 --> 0:17:02.880
<v Speaker 2>Did you ever have farinata?

0:17:03.560 --> 0:17:04.760
<v Speaker 1>Oh? I love much.

0:17:05.960 --> 0:17:07.440
<v Speaker 2>We do it a lot, because.

0:17:07.840 --> 0:17:10.199
<v Speaker 3>I had a great farinata the River Cafe when I

0:17:10.280 --> 0:17:10.960
<v Speaker 3>was there.

0:17:11.119 --> 0:17:15.040
<v Speaker 2>Yeah, it's really I think we often give people pizzas

0:17:15.080 --> 0:17:18.040
<v Speaker 2>to start, but there's something about a farinata.

0:17:17.440 --> 0:17:19.720
<v Speaker 1>Which is an incredible.

0:17:19.320 --> 0:17:22.040
<v Speaker 2>It's just chickpea, flour, olive.

0:17:21.760 --> 0:17:26.080
<v Speaker 3>Oil, very good nutritive thing, a lot of protein in it.

0:17:26.720 --> 0:17:28.400
<v Speaker 1>Yeah, is some incredible.

0:17:29.240 --> 0:17:31.720
<v Speaker 3>I mean, we have so many different ways of farinata

0:17:31.760 --> 0:17:34.679
<v Speaker 3>in Italy because you have far not in Tuscany, and

0:17:34.720 --> 0:17:39.560
<v Speaker 3>then you have panelle in Fiftily. Yeah, you have farinata in,

0:17:40.560 --> 0:17:43.080
<v Speaker 3>you have it in Liguria, you have it in and

0:17:43.119 --> 0:17:48.040
<v Speaker 3>you have the panell inmo in Sicily, which is chickpeas

0:17:48.040 --> 0:17:53.520
<v Speaker 3>flour mixed with water boiled boiled, yes, and then put

0:17:53.760 --> 0:17:59.200
<v Speaker 3>on a thin layer, cut in slices and fried. That's

0:17:59.240 --> 0:18:03.240
<v Speaker 3>panel panel, which is a typical street fair street food. Yes,

0:18:03.840 --> 0:18:14.320
<v Speaker 3>but it's another variation of the farinata.

0:18:12.560 --> 0:18:15.760
<v Speaker 2>Imagine estate bottled olive oil chosen and bottled for the

0:18:15.840 --> 0:18:20.240
<v Speaker 2>River Cafe, arriving at your door every month. Our subscription

0:18:20.440 --> 0:18:24.000
<v Speaker 2>is available for six or twelve months, with each oil

0:18:24.160 --> 0:18:28.000
<v Speaker 2>chosen personally by our head chefs and varying with each delivery.

0:18:28.560 --> 0:18:31.360
<v Speaker 2>It's a perfect way to bring some River Cafe flavor

0:18:31.480 --> 0:18:34.440
<v Speaker 2>into your home or to show someone you really care

0:18:34.520 --> 0:18:38.080
<v Speaker 2>for them with the gift. Visit our website shop the

0:18:38.200 --> 0:18:42.920
<v Speaker 2>Rivercafe dot co dot uk to place your order. Now,

0:18:46.960 --> 0:18:48.359
<v Speaker 2>how long did you live at home for?

0:18:48.760 --> 0:18:51.080
<v Speaker 1>Was it? I think I left home when I was

0:18:51.280 --> 0:18:51.880
<v Speaker 1>twenty one.

0:18:53.000 --> 0:18:56.200
<v Speaker 3>I left, I went to Palerm, I went to Rome

0:18:56.400 --> 0:18:58.119
<v Speaker 3>to study literature.

0:18:58.480 --> 0:19:00.920
<v Speaker 2>Did you know that you wanted to do film? Yeah?

0:19:00.960 --> 0:19:04.480
<v Speaker 3>Yeah, I always I was I was torn between two

0:19:04.800 --> 0:19:08.440
<v Speaker 3>directions for myself. One was to be a director of

0:19:08.560 --> 0:19:10.560
<v Speaker 3>indirector and the other one was to be a chef.

0:19:11.960 --> 0:19:14.360
<v Speaker 3>I was cooking. I had my little mini pants when

0:19:14.359 --> 0:19:17.000
<v Speaker 3>I was in Ethiopic growing up, I had my little

0:19:17.920 --> 0:19:20.879
<v Speaker 3>corner in the kitchen where I could do what I wanted.

0:19:21.520 --> 0:19:24.520
<v Speaker 3>And I grew more and more into this, and then

0:19:24.560 --> 0:19:27.399
<v Speaker 3>when I was like fourteen, I realized that if I

0:19:27.440 --> 0:19:31.639
<v Speaker 3>had to go into that direction, I would have probably

0:19:31.720 --> 0:19:35.439
<v Speaker 3>abandoned the intellectual part of my bringing because I was

0:19:35.480 --> 0:19:36.880
<v Speaker 3>also a very avid reader of.

0:19:36.840 --> 0:19:38.280
<v Speaker 1>Books, quite academic.

0:19:38.640 --> 0:19:43.240
<v Speaker 3>Yeah, I felt like that between the two, probably I

0:19:43.280 --> 0:19:48.280
<v Speaker 3>could have kept being a passionate with food, but I

0:19:48.320 --> 0:19:51.040
<v Speaker 3>would have made my life more intellectual.

0:19:51.800 --> 0:19:54.359
<v Speaker 1>And that's why I choose not had a cinema.

0:19:54.480 --> 0:19:57.480
<v Speaker 2>Did you have if you had little hands for media?

0:19:57.760 --> 0:20:01.320
<v Speaker 3>I had a camera, Yes, you did either Super eight

0:20:01.440 --> 0:20:02.240
<v Speaker 3>my first superade.

0:20:02.240 --> 0:20:04.160
<v Speaker 1>I had it when I was like nine or eight.

0:20:04.600 --> 0:20:06.240
<v Speaker 1>Your parents gave it to you, my mother.

0:20:07.520 --> 0:20:09.520
<v Speaker 3>My mother gave me a Super eight, and I started

0:20:09.520 --> 0:20:12.000
<v Speaker 3>shooting my little short films with this. You know, like

0:20:12.080 --> 0:20:17.919
<v Speaker 3>you could get these eight millimeters little box where you

0:20:17.960 --> 0:20:19.680
<v Speaker 3>put into the camera and then you had to ship

0:20:19.720 --> 0:20:21.880
<v Speaker 3>it to Germany and wait like two months to get

0:20:21.880 --> 0:20:23.920
<v Speaker 3>it back. So I had my camera and I had

0:20:23.920 --> 0:20:27.760
<v Speaker 3>my projector, and I started to learn that if you

0:20:27.840 --> 0:20:32.080
<v Speaker 3>wanted to not tell a story but communicate something, you

0:20:32.760 --> 0:20:35.080
<v Speaker 3>didn't have to just film, but you have to create

0:20:35.119 --> 0:20:38.840
<v Speaker 3>a juxtaposition. But I didn't know how to actually cut,

0:20:39.320 --> 0:20:41.240
<v Speaker 3>so I started to cut on camera. So I was

0:20:41.280 --> 0:20:44.280
<v Speaker 3>doing a shot, and then I was thinking what I

0:20:44.320 --> 0:20:46.119
<v Speaker 3>want this to be followed by? And I was shooting

0:20:46.160 --> 0:20:49.760
<v Speaker 3>another thing, and I was doing these mini movies about

0:20:49.880 --> 0:20:53.280
<v Speaker 3>juxtaposition of things you haven't my mom must have in

0:20:53.320 --> 0:20:53.840
<v Speaker 3>some boxes.

0:20:53.880 --> 0:20:57.399
<v Speaker 2>Yes, you should find them, we should find them, but

0:20:57.440 --> 0:20:58.080
<v Speaker 2>you still cook.

0:20:59.240 --> 0:20:59.840
<v Speaker 1>Cook.

0:20:59.880 --> 0:21:02.879
<v Speaker 3>I became friends with great chefs like yourself, and I

0:21:04.000 --> 0:21:06.560
<v Speaker 3>cultivated the cult of food all my life.

0:21:06.880 --> 0:21:08.600
<v Speaker 1>I was for one year and a half.

0:21:08.440 --> 0:21:11.479
<v Speaker 3>I was a gastronomic critic for Vanity Fair Italy.

0:21:11.880 --> 0:21:15.800
<v Speaker 1>Oh yeah, every week, reviewed restaurants, yeah, all over the world.

0:21:17.000 --> 0:21:21.080
<v Speaker 3>And it's interesting because at the beginning, of course, it

0:21:21.240 --> 0:21:24.280
<v Speaker 3>was like we start, but then I became very consistent

0:21:24.320 --> 0:21:27.920
<v Speaker 3>because I was doing once a week for like more

0:21:27.960 --> 0:21:33.480
<v Speaker 3>than seventy weeks. For Vanity Fair Italy was a week weekly, Yes,

0:21:33.560 --> 0:21:37.720
<v Speaker 3>it's weekly. Wow, And there was a great director, Daniella Amaui.

0:21:37.840 --> 0:21:38.480
<v Speaker 1>She was great.

0:21:39.560 --> 0:21:42.359
<v Speaker 3>Then she left and the new director fired me because

0:21:42.359 --> 0:21:45.000
<v Speaker 3>he said to me, you know, we don't like criticism,

0:21:45.000 --> 0:21:46.840
<v Speaker 3>maybe because we want to be friends with everybody.

0:21:47.440 --> 0:21:50.879
<v Speaker 1>So I said, okay, bye bye, Adrian girl. Yeah I'm gone.

0:21:51.440 --> 0:21:55.719
<v Speaker 3>And actually the conversation started because I sent a review

0:21:55.840 --> 0:22:01.760
<v Speaker 3>of a very important restaurant in Bergamo, three star mish Lands.

0:22:01.800 --> 0:22:04.720
<v Speaker 3>So now everybody who knows that knows who's the restaurant

0:22:04.920 --> 0:22:07.920
<v Speaker 3>still there? Oh yeah, yeah, super important. And I sent

0:22:08.080 --> 0:22:10.720
<v Speaker 3>it and they said to me, we can't publish this

0:22:11.000 --> 0:22:14.280
<v Speaker 3>because we're friends, and I said yes, but I say,

0:22:14.320 --> 0:22:18.120
<v Speaker 3>your friends, but journalis journalists, right, No. Then I made

0:22:18.119 --> 0:22:20.919
<v Speaker 3>another review of another restaurant, two Starmish Lanes and it

0:22:20.960 --> 0:22:23.920
<v Speaker 3>was another skating review, and they said we can't either.

0:22:25.000 --> 0:22:27.600
<v Speaker 3>So I went to see the director the editor of

0:22:27.640 --> 0:22:30.760
<v Speaker 3>the magazine and they fired me. We parted ways, but

0:22:30.840 --> 0:22:34.640
<v Speaker 3>I made like I made like sixty five seventy reviews.

0:22:35.119 --> 0:22:36.920
<v Speaker 1>I should put them in a book you could put

0:22:36.920 --> 0:22:37.639
<v Speaker 1>it was nice.

0:22:38.560 --> 0:22:40.840
<v Speaker 3>But then I started to go to places and people

0:22:40.840 --> 0:22:43.720
<v Speaker 3>were like, ah, they were like treating me in a

0:22:43.760 --> 0:22:46.600
<v Speaker 3>different way, and that was bad. And sometimes they were

0:22:46.640 --> 0:22:48.040
<v Speaker 3>asking me, can you come and review us?

0:22:48.080 --> 0:22:50.040
<v Speaker 1>Even if it's a better review, we want the review.

0:22:51.720 --> 0:22:53.919
<v Speaker 2>There is a I wonder you know. I just we

0:22:53.960 --> 0:22:56.840
<v Speaker 2>did a podcast recently with Francis Coppola.

0:22:56.520 --> 0:22:57.840
<v Speaker 1>The Divine Francis.

0:22:58.359 --> 0:22:59.560
<v Speaker 2>Yeah. Do you see him?

0:22:59.800 --> 0:23:02.360
<v Speaker 3>No, I never met with him. I'm a friend with

0:23:02.440 --> 0:23:03.960
<v Speaker 3>his daughter, the wonderful Sofia.

0:23:04.280 --> 0:23:07.520
<v Speaker 2>He's living in London now I would love okay, and

0:23:08.280 --> 0:23:11.040
<v Speaker 2>he also you know, you talk about the parallels between

0:23:11.600 --> 0:23:14.440
<v Speaker 2>making a movie and making a recipe running a restaurant.

0:23:14.480 --> 0:23:18.160
<v Speaker 2>Directing a film, you know how you of course, it's

0:23:18.440 --> 0:23:20.959
<v Speaker 2>in one way not very similar at all, but in

0:23:21.040 --> 0:23:25.800
<v Speaker 2>many ways it is about creating something, something, perhaps temporary.

0:23:26.240 --> 0:23:28.639
<v Speaker 2>The response of the critics, how you do it? Do

0:23:28.640 --> 0:23:31.480
<v Speaker 2>you think? I mean, did you find directing films and

0:23:31.520 --> 0:23:34.160
<v Speaker 2>writing about food or cooking food?

0:23:34.600 --> 0:23:38.639
<v Speaker 3>I think directing films and cooking or in general running

0:23:38.680 --> 0:23:43.159
<v Speaker 3>an enterprise like a restaurant, are very close because the

0:23:43.240 --> 0:23:47.320
<v Speaker 3>director is the entrepreneur who is putting together all the elements,

0:23:47.359 --> 0:23:50.840
<v Speaker 3>including the ingredients, to make the experience be.

0:23:52.240 --> 0:23:53.760
<v Speaker 1>So I think they're very.

0:23:53.520 --> 0:23:56.159
<v Speaker 3>Close, and I think there is a lot of savvness

0:23:56.240 --> 0:23:59.880
<v Speaker 3>in the entrepreneur who knows life and habits and behavior.

0:24:00.760 --> 0:24:03.360
<v Speaker 3>So a director should be someone.

0:24:03.000 --> 0:24:03.919
<v Speaker 1>Who does know that.

0:24:04.560 --> 0:24:06.400
<v Speaker 2>And when you made your first film, what was your

0:24:06.400 --> 0:24:07.480
<v Speaker 2>first film.

0:24:07.240 --> 0:24:09.480
<v Speaker 3>That you actually what we called The Protagonists that I

0:24:09.520 --> 0:24:12.760
<v Speaker 3>shot in London with tild the Swinton, and it's a

0:24:12.760 --> 0:24:15.400
<v Speaker 3>movie that I'm not very happy with that the Cinema

0:24:15.440 --> 0:24:19.520
<v Speaker 3>Tech in Bologna restored. I met with the director of

0:24:19.560 --> 0:24:23.200
<v Speaker 3>the cinema Tech, Jan Luca Luka, why you restarted that movie?

0:24:23.240 --> 0:24:23.800
<v Speaker 2>That's bad?

0:24:24.160 --> 0:24:25.800
<v Speaker 1>And it had to be shut up? The movies great.

0:24:26.200 --> 0:24:28.280
<v Speaker 3>And then a few months later it was on movie

0:24:28.480 --> 0:24:31.480
<v Speaker 3>which is still and I'm very like, why anyway?

0:24:32.520 --> 0:24:33.840
<v Speaker 1>And it's gonna be.

0:24:33.800 --> 0:24:36.200
<v Speaker 3>Your vengeance for the four Garly closes. I have no

0:24:37.640 --> 0:24:38.320
<v Speaker 3>I'm kidding.

0:24:39.960 --> 0:24:43.000
<v Speaker 2>I think that it's interesting to think about the way

0:24:43.040 --> 0:24:47.400
<v Speaker 2>you've brought food into film. You know, how your films,

0:24:47.640 --> 0:24:53.359
<v Speaker 2>As I said in my introduction, the sensuous quality, the

0:24:53.359 --> 0:24:57.640
<v Speaker 2>the way that food can transport you into knowing about

0:24:57.640 --> 0:25:00.639
<v Speaker 2>a relationship, by the way people eat together, by the

0:25:00.640 --> 0:25:01.920
<v Speaker 2>way they feed each other.

0:25:02.560 --> 0:25:06.840
<v Speaker 1>With a zero as people to very few and.

0:25:08.840 --> 0:25:12.359
<v Speaker 3>You cannot surpass unsurpassable elements of our being one is

0:25:12.920 --> 0:25:18.920
<v Speaker 3>the biological is important like sleep, it, drink, shite, pee,

0:25:19.160 --> 0:25:22.080
<v Speaker 3>those are elements that are constitutional of who we are

0:25:22.119 --> 0:25:26.119
<v Speaker 3>as people. And because we are also capable of telling

0:25:26.119 --> 0:25:30.679
<v Speaker 3>a story about ourselves, meaning our condition as people, to

0:25:30.840 --> 0:25:35.800
<v Speaker 3>discard the elements that constitute our everyday life from the narrative,

0:25:36.520 --> 0:25:41.760
<v Speaker 3>it's advertisement, it's a sort of artificial construction. So that's

0:25:41.760 --> 0:25:45.840
<v Speaker 3>why I'm very keen that in my storytelling there is

0:25:45.880 --> 0:25:51.280
<v Speaker 3>always the possibility of experiencing our universal being, which has

0:25:51.320 --> 0:25:56.120
<v Speaker 3>to do with sleeping, waking up, being, shiting, and eating

0:25:56.280 --> 0:26:01.239
<v Speaker 3>and sex and having sex. Even though I think that

0:26:01.520 --> 0:26:04.160
<v Speaker 3>sex as a cultural.

0:26:05.359 --> 0:26:08.760
<v Speaker 1>Artifacts is overrated, so.

0:26:08.680 --> 0:26:12.520
<v Speaker 2>Boring, boring to watch, boring in film.

0:26:12.720 --> 0:26:14.400
<v Speaker 1>Boring to be discuss it.

0:26:14.480 --> 0:26:16.679
<v Speaker 2>Yeah, challenging in film to.

0:26:18.240 --> 0:26:21.040
<v Speaker 3>Yeah, I mean there is the challenge of filming sex

0:26:21.160 --> 0:26:26.760
<v Speaker 3>deals with the undemocratic nature of filmmaking and the inevitable

0:26:27.200 --> 0:26:31.159
<v Speaker 3>and absolutely welcome need of democracy in dealing with people

0:26:31.160 --> 0:26:32.040
<v Speaker 3>that helps.

0:26:31.720 --> 0:26:32.600
<v Speaker 1>You making the movie.

0:26:33.320 --> 0:26:36.919
<v Speaker 3>Translation, if you make a movie as a director, you

0:26:37.080 --> 0:26:40.040
<v Speaker 3>always have this totalitarian idea that everything has to be

0:26:40.160 --> 0:26:42.800
<v Speaker 3>the way you want. But how can you have that

0:26:42.960 --> 0:26:45.800
<v Speaker 3>attitude when you ask two people, maybe two people that

0:26:45.840 --> 0:26:48.920
<v Speaker 3>are strangers to each other, to do something intimate, even

0:26:48.960 --> 0:26:52.640
<v Speaker 3>if for the fiction of it so it's a compromise,

0:26:52.720 --> 0:26:57.359
<v Speaker 3>it's a conversation. It's like, sometimes the compromise brings something

0:26:57.440 --> 0:27:01.119
<v Speaker 3>you didn't expect. Sometimes the compromise this troy what you

0:27:01.200 --> 0:27:05.000
<v Speaker 3>wanted to do. Sometimes it hurts you or it hurts

0:27:05.000 --> 0:27:06.080
<v Speaker 3>the other and it shouldn't.

0:27:06.400 --> 0:27:08.960
<v Speaker 2>We were talking with Francis the other day. We're talking

0:27:08.960 --> 0:27:14.400
<v Speaker 2>about erotic film. When you see something erotic in the movie, and.

0:27:14.400 --> 0:27:16.160
<v Speaker 3>Remind me to tell you what is the most erotic

0:27:16.240 --> 0:27:17.880
<v Speaker 3>cinema scene in my life, in my.

0:27:17.920 --> 0:27:20.360
<v Speaker 2>Idea, and I said that one of the most erotic

0:27:20.400 --> 0:27:22.160
<v Speaker 2>scenes that I remember, and I'm not gonna remember which

0:27:22.200 --> 0:27:24.879
<v Speaker 2>one it was with Daniel day Lewis the Edith Wharton

0:27:25.040 --> 0:27:28.200
<v Speaker 2>movie of the Age of when he holds her hand

0:27:28.280 --> 0:27:29.560
<v Speaker 2>in the carriage. Do you remember I.

0:27:31.320 --> 0:27:34.800
<v Speaker 3>Was going, this is incredible, because I was going to

0:27:34.880 --> 0:27:37.240
<v Speaker 3>tell you one scene from Manuel de la Vera, and

0:27:37.320 --> 0:27:40.120
<v Speaker 3>this was going to be my second. In the scene

0:27:40.160 --> 0:27:43.320
<v Speaker 3>that you describe, which is incredible, he takes the hand

0:27:43.960 --> 0:27:47.959
<v Speaker 3>and unbuttoned the glove on the on the wrist and

0:27:48.160 --> 0:27:52.959
<v Speaker 3>he opens the glove almost like in a sort of

0:27:53.080 --> 0:27:56.239
<v Speaker 3>like vagina shape and kisses it and smells it.

0:27:56.880 --> 0:27:58.520
<v Speaker 1>I agree with you, that's one of the.

0:27:58.480 --> 0:28:03.160
<v Speaker 3>Most erotic scenes ever shot from a director who knows

0:28:03.160 --> 0:28:07.560
<v Speaker 3>everything about human nature. The other scene is in the

0:28:07.640 --> 0:28:11.640
<v Speaker 3>great movie La vallea Brown The Valley of Sin, which

0:28:11.680 --> 0:28:15.160
<v Speaker 3>is a sort of version of Madame Bovarie, shot by

0:28:15.200 --> 0:28:21.560
<v Speaker 3>the greatest director or ever, leave Manuel de Olivera Portuguese,

0:28:22.240 --> 0:28:25.960
<v Speaker 3>in which she has this actress, Leonor silvera amazing actress,

0:28:26.000 --> 0:28:31.160
<v Speaker 3>playing Madame Beavverie, being tormented by this kind of shock

0:28:31.200 --> 0:28:34.240
<v Speaker 3>of eroticism that she's feeling for the man, and she

0:28:34.359 --> 0:28:37.840
<v Speaker 3>grabs a flower and she fingers the flower and the

0:28:37.880 --> 0:28:41.800
<v Speaker 3>director makes this closeup of the flower cup being fingered

0:28:41.800 --> 0:28:44.920
<v Speaker 3>by the finger of Leonora silvera incredible moment.

0:28:45.120 --> 0:28:47.800
<v Speaker 2>So as I've just been help patizen, but as another

0:28:47.920 --> 0:28:51.719
<v Speaker 2>scene that I was thinking another way of torture, and

0:28:51.760 --> 0:28:54.960
<v Speaker 2>one of the most upsetting torture scenes that I've seen

0:28:55.080 --> 0:28:58.120
<v Speaker 2>was in Rome Open City, because you never see it,

0:28:58.240 --> 0:29:01.760
<v Speaker 2>You never see the torture. It's behind in a room behind,

0:29:01.920 --> 0:29:05.120
<v Speaker 2>and you hear you just hear it. It's fromazing and

0:29:05.160 --> 0:29:06.920
<v Speaker 2>now if they probably were doing we think of all

0:29:06.920 --> 0:29:09.200
<v Speaker 2>the torture scenes we see in film, whether the guy's

0:29:09.280 --> 0:29:12.000
<v Speaker 2>tied up or somebody comes in and throws this and.

0:29:12.360 --> 0:29:14.760
<v Speaker 3>I say something that is going to make me lose

0:29:14.800 --> 0:29:17.720
<v Speaker 3>some people that likes my work or myself. I don't

0:29:17.720 --> 0:29:20.360
<v Speaker 3>think everybody should make films, only the people who know

0:29:20.440 --> 0:29:24.800
<v Speaker 3>how to make them. And you're hitting a very delicate

0:29:25.200 --> 0:29:29.760
<v Speaker 3>hot button here, because to represent something like torture, it

0:29:29.880 --> 0:29:34.320
<v Speaker 3>takes an ethical and also humanistic wisdom to have to

0:29:34.360 --> 0:29:38.160
<v Speaker 3>do it properly. And that's why you mentioned this scene

0:29:38.240 --> 0:29:40.680
<v Speaker 3>from one of the greatest movies ever made from one

0:29:40.760 --> 0:29:44.440
<v Speaker 3>of the greatest directors I ever leaved, Roberto Rossellini. So

0:29:44.640 --> 0:29:47.760
<v Speaker 3>like I agree with you violence spreading on the screen

0:29:48.160 --> 0:29:53.320
<v Speaker 3>indiscriminately because it's like a trade and it doesn't come

0:29:53.400 --> 0:29:58.240
<v Speaker 3>with an idea of ethics at play from filmmakers sometimes

0:29:58.920 --> 0:30:01.719
<v Speaker 3>not now from a long time or in general.

0:30:02.800 --> 0:30:04.480
<v Speaker 1>Ramachita Perta, which I.

0:30:05.880 --> 0:30:09.480
<v Speaker 3>Watched again, like lasts I haven't seen in London at

0:30:09.480 --> 0:30:10.840
<v Speaker 3>the curtain, mayfird they had.

0:30:10.680 --> 0:30:14.000
<v Speaker 1>A red you say re re release.

0:30:14.680 --> 0:30:19.120
<v Speaker 3>It's interesting because historically the movie has been told of

0:30:19.160 --> 0:30:22.400
<v Speaker 3>being one of the great example of Italian neo realism,

0:30:22.840 --> 0:30:25.640
<v Speaker 3>but in fact is then one of the great melodramas.

0:30:25.840 --> 0:30:29.040
<v Speaker 1>I think more than neo realism. Beautiful movie.

0:30:29.320 --> 0:30:31.800
<v Speaker 2>I thought it was sting, so beautiful. So if we're

0:30:31.800 --> 0:30:34.280
<v Speaker 2>going back to the cooking and the food, and your

0:30:34.600 --> 0:30:38.200
<v Speaker 2>tell me a scene, because I could say the showsers

0:30:38.240 --> 0:30:41.000
<v Speaker 2>and challengers, or we could talk about the peach, or

0:30:41.040 --> 0:30:43.800
<v Speaker 2>we could talk about the prawns. For you, which one

0:30:43.840 --> 0:30:45.560
<v Speaker 2>would you talk about if I asked you to talk

0:30:45.600 --> 0:30:46.880
<v Speaker 2>to me about the film.

0:30:47.120 --> 0:30:49.520
<v Speaker 3>I don't want to be sensationalist. But one scene of

0:30:49.560 --> 0:30:56.440
<v Speaker 3>food that I think is very, very successfully made in

0:30:56.480 --> 0:31:01.760
<v Speaker 3>my movies, it's when Maren and Sally played by Mark

0:31:01.840 --> 0:31:08.120
<v Speaker 3>Rylance and Taylor Russell eat the lady in the house

0:31:08.320 --> 0:31:09.160
<v Speaker 3>and bones and all.

0:31:10.320 --> 0:31:12.000
<v Speaker 1>That is a great meal scene.

0:31:12.040 --> 0:31:14.160
<v Speaker 2>I would say, can you describe it to someone who

0:31:14.240 --> 0:31:16.239
<v Speaker 2>I can describe you to? He is listening to this

0:31:16.360 --> 0:31:17.880
<v Speaker 2>and they won't have seen it.

0:31:18.160 --> 0:31:21.240
<v Speaker 3>I think, if I remember properly, you have the character

0:31:21.280 --> 0:31:24.240
<v Speaker 3>of Lee of mav Maar, and this girl who is

0:31:24.320 --> 0:31:26.640
<v Speaker 3>coping with her own nature. She realizes that she's a

0:31:26.640 --> 0:31:30.120
<v Speaker 3>cannibal and cannot stop by being one, and she's in

0:31:30.160 --> 0:31:31.720
<v Speaker 3>search of a way not to be like that, and

0:31:31.800 --> 0:31:35.080
<v Speaker 3>also in search of someone to share the burden of

0:31:35.120 --> 0:31:39.520
<v Speaker 3>this wave being. And she has met the older man Mark.

0:31:40.160 --> 0:31:43.680
<v Speaker 3>Sally played by Mark Rylands, the amazing Mark Rylance and

0:31:44.920 --> 0:31:47.760
<v Speaker 3>who is like her an eater, someone who has an

0:31:47.760 --> 0:31:54.000
<v Speaker 3>impulse of eating, a cannibalistic and cannot stop from refrain from.

0:31:54.040 --> 0:31:58.320
<v Speaker 3>And he brings her to a house in a village

0:31:58.520 --> 0:32:01.800
<v Speaker 3>in the night and base he tells her that in

0:32:01.840 --> 0:32:07.000
<v Speaker 3>the other room a lady is almost dying, an older lady,

0:32:07.840 --> 0:32:11.680
<v Speaker 3>and revolves by this. She wants to run away, and

0:32:11.720 --> 0:32:14.840
<v Speaker 3>she tells her, you that's your nature. She goes into

0:32:14.880 --> 0:32:18.920
<v Speaker 3>another room and spend the night awake and not knowing

0:32:18.920 --> 0:32:20.959
<v Speaker 3>what to do, and then she falls asleep. And then

0:32:21.120 --> 0:32:26.320
<v Speaker 3>when the first light of the day comes, the lady dies,

0:32:26.640 --> 0:32:30.800
<v Speaker 3>and she suddenly smells the impulse to go there.

0:32:30.840 --> 0:32:32.240
<v Speaker 1>She smells what she has.

0:32:32.120 --> 0:32:35.200
<v Speaker 3>To go for, and she opens the door and she

0:32:35.280 --> 0:32:37.640
<v Speaker 3>walks in the landing, and we can see part of

0:32:37.640 --> 0:32:41.440
<v Speaker 3>the body of the lady, but you see Sally bending

0:32:41.480 --> 0:32:45.000
<v Speaker 3>over the woman, already fisting on her and turning towards

0:32:45.560 --> 0:32:48.600
<v Speaker 3>Matine and looking at her and kindly inviting her in.

0:32:49.160 --> 0:32:53.480
<v Speaker 3>And the scene. I mean, I thought the movie was

0:32:53.520 --> 0:32:57.400
<v Speaker 3>going to be like a great successful love story, and

0:32:57.440 --> 0:33:03.560
<v Speaker 3>people were really appalled by the nature of the cannibalies

0:33:03.640 --> 0:33:06.440
<v Speaker 3>in the movie. But we were very committed to make

0:33:06.480 --> 0:33:10.440
<v Speaker 3>it properly. And I would say that both Taylor Russell

0:33:10.480 --> 0:33:14.520
<v Speaker 3>and Mark were sublime in the movie. And of course,

0:33:14.600 --> 0:33:18.000
<v Speaker 3>my dear dear Timo Tshelamet was incredible in the movie.

0:33:18.080 --> 0:33:22.080
<v Speaker 3>Either that's my favorite meal scene that I filmed in

0:33:22.080 --> 0:33:22.440
<v Speaker 3>my life.

0:33:22.680 --> 0:33:23.720
<v Speaker 2>Yeah, it's your favorite.

0:33:23.880 --> 0:33:26.280
<v Speaker 3>Yeah, because it's terminal. It's like, what can you go

0:33:26.440 --> 0:33:27.080
<v Speaker 3>beyond that?

0:33:27.160 --> 0:33:29.480
<v Speaker 1>You can't? That's it. I haven't seen it.

0:33:29.560 --> 0:33:33.240
<v Speaker 3>Bones and All was twenty twenty two and it stars

0:33:33.280 --> 0:33:35.840
<v Speaker 3>Timtschelamette and Taylor Russell and Mark Rylance.

0:33:41.200 --> 0:33:43.720
<v Speaker 2>The River Cafe when you said Lunch is now running

0:33:43.720 --> 0:33:48.680
<v Speaker 2>from Monday to Thursday. Reserve a booking at www. Rivercafe

0:33:48.920 --> 0:33:57.040
<v Speaker 2>dot co dot uk or give us a call. Let's

0:33:57.080 --> 0:34:01.000
<v Speaker 2>go back to your kitchen's three kitchens in Piermont, Say so,

0:34:01.200 --> 0:34:03.120
<v Speaker 2>tell me about the three kitchens. You have a pastry

0:34:03.200 --> 0:34:03.760
<v Speaker 2>kitchen as.

0:34:03.640 --> 0:34:07.160
<v Speaker 3>Well to The house I live in is an old

0:34:07.280 --> 0:34:12.760
<v Speaker 3>house from nineteenth century, and I renovated it slowly in time.

0:34:13.680 --> 0:34:17.560
<v Speaker 3>And I always wanted to be able to have space

0:34:17.719 --> 0:34:21.040
<v Speaker 3>to cook properly and to have all the things I

0:34:21.080 --> 0:34:24.480
<v Speaker 3>need to cook properly. And I always thought that you

0:34:24.560 --> 0:34:29.719
<v Speaker 3>could not cook savory where you cook suite.

0:34:29.360 --> 0:34:32.240
<v Speaker 2>Well restaurants, we have a pastry kitchen.

0:34:32.080 --> 0:34:34.160
<v Speaker 1>Separated, so that was a rule.

0:34:34.920 --> 0:34:39.400
<v Speaker 3>So I created these two rooms separating them. One is

0:34:39.800 --> 0:34:43.880
<v Speaker 3>cream color and one is pitch color. It's all tiles.

0:34:44.120 --> 0:34:47.600
<v Speaker 3>Which one is the pitch is the is the pastry

0:34:47.640 --> 0:34:51.160
<v Speaker 3>the pastry. Then I have another kitchen outside for if

0:34:51.200 --> 0:34:55.000
<v Speaker 3>I do. I have not put the actual gears yet,

0:34:55.040 --> 0:34:58.920
<v Speaker 3>but this is going to be for caterings maybe. And

0:34:59.120 --> 0:35:03.600
<v Speaker 3>I'm now doing a bakery. Are you in the courtyard, yes,

0:35:03.640 --> 0:35:07.239
<v Speaker 3>for yourself, because there is this is like a countryside

0:35:07.239 --> 0:35:10.560
<v Speaker 3>home with all the buildings made for heart of a

0:35:10.640 --> 0:35:13.080
<v Speaker 3>thing and da da da, And there wasn't an old

0:35:13.320 --> 0:35:17.400
<v Speaker 3>brick oven already there. So I'm restoring the brick oven

0:35:17.440 --> 0:35:21.080
<v Speaker 3>and making a bakery in order to do bread.

0:35:21.320 --> 0:35:25.680
<v Speaker 2>It's very very different, isn't it making bread making pastries

0:35:25.800 --> 0:35:28.120
<v Speaker 2>from making pasta.

0:35:27.880 --> 0:35:29.920
<v Speaker 1>Or Oh yeah, all of them are very differently.

0:35:29.960 --> 0:35:33.319
<v Speaker 2>We have a chefs who are great cooks, and they

0:35:33.440 --> 0:35:35.960
<v Speaker 2>just I mean once because we always had the system

0:35:36.000 --> 0:35:38.680
<v Speaker 2>that we didn't have a pastry kitchen from until about

0:35:39.239 --> 0:35:42.240
<v Speaker 2>ten years ago. Maybe when the demand we just everything

0:35:42.280 --> 0:35:44.440
<v Speaker 2>we made. You came into work in the river cafe,

0:35:44.480 --> 0:35:45.839
<v Speaker 2>you come to work and you don't know what you're

0:35:45.840 --> 0:35:48.239
<v Speaker 2>going to cook. You might make a risotta one day,

0:35:48.239 --> 0:35:51.080
<v Speaker 2>you might make a sauce another day, or you may

0:35:51.200 --> 0:35:54.279
<v Speaker 2>make a chocolate cake. And it was really interesting to

0:35:54.320 --> 0:35:57.799
<v Speaker 2>get the consistency and hearing from some chefs saying I

0:35:57.880 --> 0:35:59.480
<v Speaker 2>just don't like to bake, you know, I don't want

0:35:59.480 --> 0:36:01.680
<v Speaker 2>to make a cake. Or then you have the people

0:36:01.719 --> 0:36:04.279
<v Speaker 2>who are in the pastry kitchen saying. Some of them

0:36:04.320 --> 0:36:06.000
<v Speaker 2>say they want to come down and learn how to

0:36:06.000 --> 0:36:09.520
<v Speaker 2>make a osobuco or you know, girlleds steak, but a

0:36:09.520 --> 0:36:12.920
<v Speaker 2>lot of them feel very proprietor about what they're Do

0:36:12.960 --> 0:36:15.880
<v Speaker 2>you feel that, Are you happier when you're making a cake?

0:36:15.960 --> 0:36:18.840
<v Speaker 1>To make it? Like? So, I like to be in

0:36:18.880 --> 0:36:22.080
<v Speaker 1>the kitchen and nurturing people. I love to do that,

0:36:22.520 --> 0:36:24.640
<v Speaker 1>But what I'm.

0:36:24.640 --> 0:36:28.239
<v Speaker 3>Really fond of is to be alone in the pastry

0:36:29.320 --> 0:36:35.319
<v Speaker 3>and to do complicated things that takes a lot of time, and.

0:36:35.239 --> 0:36:39.080
<v Speaker 1>Be alone the solitary. I love the solitary aspect of it.

0:36:39.160 --> 0:36:40.719
<v Speaker 3>One of the things that I love is when in

0:36:40.800 --> 0:36:43.719
<v Speaker 3>the in the when I do stolen around Christmas time

0:36:44.880 --> 0:36:47.759
<v Speaker 3>and I do like I don't know ten kilos of

0:36:47.760 --> 0:36:54.120
<v Speaker 3>stolins still long, and it takes three days, and maybe

0:36:54.160 --> 0:37:01.400
<v Speaker 3>you have to be renovating the mix the dough seven

0:37:01.440 --> 0:37:04.440
<v Speaker 3>hours in and maybe that's like three o'clock in the morning.

0:37:04.480 --> 0:37:06.319
<v Speaker 3>So I go to sleep at ten. I woke up

0:37:06.320 --> 0:37:08.040
<v Speaker 3>at two thirty, and then I go and do it.

0:37:08.320 --> 0:37:09.400
<v Speaker 3>Then I go another map.

0:37:09.600 --> 0:37:10.840
<v Speaker 1>I love that. That's beautiful.

0:37:11.000 --> 0:37:13.920
<v Speaker 2>To quote another person, I keep quoting people today. But

0:37:13.960 --> 0:37:19.560
<v Speaker 2>Michael Caine said that he loved to cook because it

0:37:19.640 --> 0:37:21.720
<v Speaker 2>was the only thing he could do without other people.

0:37:22.200 --> 0:37:26.080
<v Speaker 2>It was solitary, he said, gardening and cooking did He said,

0:37:26.200 --> 0:37:28.880
<v Speaker 2>you know everything in a life where making a movie

0:37:28.920 --> 0:37:30.480
<v Speaker 2>you have so many people around you.

0:37:30.640 --> 0:37:32.520
<v Speaker 1>I don't like when people get into the kitchen.

0:37:32.719 --> 0:37:34.360
<v Speaker 2>But yeah, I was going to ask you if I

0:37:34.400 --> 0:37:36.200
<v Speaker 2>come and stay, I don't. I don't have to cook

0:37:36.200 --> 0:37:36.760
<v Speaker 2>with you.

0:37:36.760 --> 0:37:39.040
<v Speaker 1>You you you you you. You would be more than

0:37:39.080 --> 0:37:40.000
<v Speaker 1>welcome in the kitchen.

0:37:40.200 --> 0:37:40.840
<v Speaker 2>No, you don't have to.

0:37:41.000 --> 0:37:43.960
<v Speaker 1>But I don't like when people. You know why I like.

0:37:44.280 --> 0:37:46.319
<v Speaker 3>I like people who knows what I'm doing and they

0:37:46.320 --> 0:37:48.160
<v Speaker 3>can understand the dyamic.

0:37:48.320 --> 0:37:50.160
<v Speaker 2>I feel the same way when somebody. We have an

0:37:50.200 --> 0:37:54.000
<v Speaker 2>open kitchen, and so people are curious and it's very nice,

0:37:54.040 --> 0:37:57.560
<v Speaker 2>but you kind of want them to go away a

0:37:57.600 --> 0:37:59.880
<v Speaker 2>little bit, you know. I like having people help me.

0:38:00.000 --> 0:38:01.319
<v Speaker 2>I love having Louis too.

0:38:02.160 --> 0:38:04.880
<v Speaker 3>I like to host people, but friends they should stay

0:38:05.080 --> 0:38:06.040
<v Speaker 3>away from the kitchen.

0:38:06.280 --> 0:38:08.240
<v Speaker 1>I remember I was a kid. I was like fifteen.

0:38:08.400 --> 0:38:12.799
<v Speaker 3>My best friend Manfredi, Manfredi Romano, we were growing.

0:38:12.600 --> 0:38:14.280
<v Speaker 1>Up together, high school together.

0:38:14.360 --> 0:38:16.520
<v Speaker 3>He said to me, come with me for Christmas holidays

0:38:16.560 --> 0:38:18.840
<v Speaker 3>to my grandma house in Milano.

0:38:18.880 --> 0:38:21.440
<v Speaker 1>I was in Ficily, so I was very exotic for me.

0:38:21.560 --> 0:38:25.359
<v Speaker 3>We went to Leco, this beautiful all mention for like

0:38:25.400 --> 0:38:30.000
<v Speaker 3>this large important, like Milanie family. And the second I

0:38:30.200 --> 0:38:32.640
<v Speaker 3>stepped into the kitchen, this woman looks at me and

0:38:32.640 --> 0:38:37.400
<v Speaker 3>goes like out out and I felt like, oh so ashamed,

0:38:37.680 --> 0:38:38.560
<v Speaker 3>but I understood her.

0:38:38.920 --> 0:38:39.359
<v Speaker 1>She was right.

0:38:39.360 --> 0:38:41.359
<v Speaker 2>And when you're working on a film set, when you're

0:38:41.360 --> 0:38:43.759
<v Speaker 2>making a movie, do you care about what you feed

0:38:43.800 --> 0:38:45.959
<v Speaker 2>the people who are working on the set.

0:38:46.320 --> 0:38:48.120
<v Speaker 3>I must say, I wish, I wish I could be

0:38:48.239 --> 0:38:53.800
<v Speaker 3>like Wes Anderson, who famously has incredible catering on his sets.

0:38:53.880 --> 0:38:58.480
<v Speaker 3>That what I heard, but I don't. I don't because

0:38:58.480 --> 0:39:04.360
<v Speaker 3>it's a Scifian endeavor. Like, first of all, a crew

0:39:04.520 --> 0:39:06.800
<v Speaker 3>works so hard that they need to eat a lot.

0:39:07.040 --> 0:39:09.800
<v Speaker 3>They need to eat things that makes their energy going.

0:39:10.719 --> 0:39:12.839
<v Speaker 3>And I can't think. I mean, I am a control freak.

0:39:12.880 --> 0:39:15.120
<v Speaker 3>When I do a movie, I complete control freak. But

0:39:15.160 --> 0:39:17.600
<v Speaker 3>if I put my mind also onto that, it becomes

0:39:17.640 --> 0:39:18.480
<v Speaker 3>too much, too much.

0:39:18.719 --> 0:39:20.160
<v Speaker 1>So there are people who know how to do it.

0:39:20.200 --> 0:39:21.480
<v Speaker 1>And I don't eat much when.

0:39:21.320 --> 0:39:22.680
<v Speaker 2>I shoot you down. I was going to ask you

0:39:22.719 --> 0:39:23.480
<v Speaker 2>about your own.

0:39:23.360 --> 0:39:26.880
<v Speaker 1>I don't eat on set. No, No, I don't.

0:39:27.120 --> 0:39:29.240
<v Speaker 3>At the end of the day, when you shoot something,

0:39:29.640 --> 0:39:33.879
<v Speaker 3>unless it's like a complicated many extras or a lot

0:39:33.920 --> 0:39:36.319
<v Speaker 3>of action seen, you don't need much.

0:39:36.360 --> 0:39:36.920
<v Speaker 1>Many people.

0:39:37.040 --> 0:39:41.200
<v Speaker 2>Yeah, it's interest because film and food and cooking, and

0:39:42.200 --> 0:39:45.840
<v Speaker 2>interior architecture, because you are involved in creating not just

0:39:45.880 --> 0:39:49.320
<v Speaker 2>the environment for the table, but for rooms and perhaps

0:39:49.400 --> 0:39:50.240
<v Speaker 2>even a hotel.

0:39:51.160 --> 0:39:54.320
<v Speaker 1>I did. I did a hotel in Rome called Palazza Talia.

0:39:54.960 --> 0:39:56.320
<v Speaker 2>Where is it.

0:39:56.320 --> 0:40:00.839
<v Speaker 3>It's in the formerly known Collegio del Nazzareno, which is

0:40:00.920 --> 0:40:07.439
<v Speaker 3>a very famous building from seventeenth century that being has

0:40:07.480 --> 0:40:14.120
<v Speaker 3>school for the elite of Roman children for long and

0:40:14.160 --> 0:40:19.360
<v Speaker 3>then now became a hotel. It's basically in the middle

0:40:19.400 --> 0:40:22.520
<v Speaker 3>between Piazza Espana and Fontana di trevi.

0:40:23.800 --> 0:40:25.480
<v Speaker 1>Yeh of this place.

0:40:25.560 --> 0:40:30.680
<v Speaker 3>I did two suites and all the communal spaces everything.

0:40:30.680 --> 0:40:36.040
<v Speaker 1>What does it look like, I don't know, whimsical, whimsical.

0:40:35.520 --> 0:40:39.319
<v Speaker 2>Traumatic as a as a and you enjoy it?

0:40:40.000 --> 0:40:41.319
<v Speaker 1>I did? I did?

0:40:41.640 --> 0:40:43.880
<v Speaker 2>You never thought of doing architecture or design.

0:40:43.920 --> 0:40:45.840
<v Speaker 1>I want to be an architect as well, but that

0:40:46.040 --> 0:40:46.720
<v Speaker 1>there was a lot.

0:40:46.560 --> 0:40:49.600
<v Speaker 3>Of mathic architecture and mathematics and me, I'm not good

0:40:49.600 --> 0:40:49.920
<v Speaker 3>at it.

0:40:50.080 --> 0:40:50.880
<v Speaker 2>Would you do another?

0:40:51.000 --> 0:40:54.200
<v Speaker 1>I'm actually doing another. What I can't say?

0:40:53.800 --> 0:40:54.600
<v Speaker 2>Okay, hotel?

0:40:54.920 --> 0:40:56.719
<v Speaker 1>Yeah, important, But.

0:40:56.719 --> 0:40:59.920
<v Speaker 2>I think there are maybe the lines that we think

0:41:00.080 --> 0:41:05.600
<v Speaker 2>are barriers between film and cooking and architecture design. It's

0:41:05.600 --> 0:41:07.120
<v Speaker 2>all maybe at all.

0:41:07.680 --> 0:41:10.040
<v Speaker 3>For me, it's a question of making, you know. I

0:41:10.080 --> 0:41:15.200
<v Speaker 3>love to make. I like craftsmanship. I like artists in general.

0:41:15.360 --> 0:41:19.160
<v Speaker 3>I like creative people. I am happy when I'm surrounded

0:41:19.200 --> 0:41:19.640
<v Speaker 3>by them.

0:41:20.480 --> 0:41:21.680
<v Speaker 1>I like to share.

0:41:22.480 --> 0:41:26.640
<v Speaker 3>But at the same time, I like the beautiful, unique

0:41:26.800 --> 0:41:30.560
<v Speaker 3>feeling that you feel when you see something becoming, whether

0:41:30.600 --> 0:41:36.400
<v Speaker 3>it's an pasta dish with asparagusis or it's this incredible

0:41:37.120 --> 0:41:41.399
<v Speaker 3>fantastic house that I mean, or it's like a scene,

0:41:42.400 --> 0:41:46.759
<v Speaker 3>the actual happening of something that becomes a transformation. And

0:41:47.040 --> 0:41:51.560
<v Speaker 3>food deals a lot with transformation. It's all about transformation.

0:41:52.360 --> 0:41:55.160
<v Speaker 3>So like, I think that is really, really, really at

0:41:55.160 --> 0:41:57.719
<v Speaker 3>the end of it. What I love about what I

0:41:57.760 --> 0:42:00.240
<v Speaker 3>do that I can witness transformation.

0:42:00.719 --> 0:42:04.000
<v Speaker 2>And if food is transformation, and it is memory, and

0:42:04.080 --> 0:42:08.719
<v Speaker 2>it is sharing with your friends or creating something, it

0:42:08.760 --> 0:42:11.919
<v Speaker 2>also is comfort. Yeah, when you need comfort, is there

0:42:12.480 --> 0:42:14.200
<v Speaker 2>something that you would go to? Would it be a

0:42:14.239 --> 0:42:17.799
<v Speaker 2>food of your childhood or something tomato pasta that you

0:42:17.880 --> 0:42:19.960
<v Speaker 2>make We're going to make for me. What would be

0:42:20.000 --> 0:42:20.920
<v Speaker 2>your comfort food?

0:42:21.239 --> 0:42:23.280
<v Speaker 3>I think my comfort food and I know the answer

0:42:23.400 --> 0:42:26.920
<v Speaker 3>very precisely is rice with milk.

0:42:27.400 --> 0:42:28.120
<v Speaker 2>Is that sweet?

0:42:28.400 --> 0:42:28.720
<v Speaker 1>Sweet?

0:42:29.200 --> 0:42:31.000
<v Speaker 2>So it's what we call rice, But tell me about it.

0:42:31.080 --> 0:42:31.560
<v Speaker 1>Rice pudding.

0:42:31.640 --> 0:42:39.160
<v Speaker 3>Yeah, I would use round rice tiny short right, what

0:42:39.200 --> 0:42:43.319
<v Speaker 3>we call vielano or tondo, and I would wash it

0:42:43.360 --> 0:42:45.879
<v Speaker 3>a lot and then I would boil in a lot

0:42:45.920 --> 0:42:50.000
<v Speaker 3>of water for like five to seven minutes. I would

0:42:50.040 --> 0:42:53.799
<v Speaker 3>drain it and then I would put let's say one

0:42:53.880 --> 0:42:56.799
<v Speaker 3>hundred and fifty grams of these rice washed and pre

0:42:56.880 --> 0:43:00.560
<v Speaker 3>boiled in a litter of whole milk and two hundred

0:43:00.560 --> 0:43:05.359
<v Speaker 3>and fifty grams of double cream and make it go

0:43:05.440 --> 0:43:08.080
<v Speaker 3>into the into the stove for like.

0:43:08.160 --> 0:43:08.919
<v Speaker 1>An hour and a half.

0:43:09.000 --> 0:43:12.120
<v Speaker 3>You put cinnamon or I would put I would put

0:43:12.239 --> 0:43:16.000
<v Speaker 3>sugar and a lot of vanilla and not cinnamon.

0:43:16.600 --> 0:43:17.400
<v Speaker 1>And I love cinnamon.

0:43:17.600 --> 0:43:19.759
<v Speaker 3>And I would make it cook for like an hour

0:43:19.800 --> 0:43:22.600
<v Speaker 3>and a half until you have a good ratio between

0:43:22.640 --> 0:43:25.040
<v Speaker 3>the growth of the of the grains and the cream

0:43:25.080 --> 0:43:25.759
<v Speaker 3>you need to have.

0:43:26.040 --> 0:43:27.359
<v Speaker 1>That's why the best, like.

0:43:27.280 --> 0:43:31.880
<v Speaker 2>I love you eat it hot cold? Yeah, so you

0:43:31.920 --> 0:43:35.640
<v Speaker 2>do eat somethings in that room temperature. I generally like

0:43:35.719 --> 0:43:39.280
<v Speaker 2>everything room temperature myself. But something is a good cold.

0:43:39.200 --> 0:43:44.400
<v Speaker 3>Well like desrt you can have ice cream at the.

0:43:44.440 --> 0:43:45.879
<v Speaker 2>Boy said to me in the restaurant, I, so, would

0:43:45.920 --> 0:43:47.720
<v Speaker 2>you like some ice cream? He said, no, it's too cold.

0:43:49.160 --> 0:43:52.560
<v Speaker 1>But not even in a sunny place, in a warm place.

0:43:53.000 --> 0:43:56.240
<v Speaker 2>No. I like pasta has to be hot. But otherwise

0:43:56.280 --> 0:43:58.799
<v Speaker 2>what I like about Italian food is there doesn't seem

0:43:58.840 --> 0:44:01.759
<v Speaker 2>to be that America. You get my country in the

0:44:01.880 --> 0:44:04.319
<v Speaker 2>United States, you get either very.

0:44:04.320 --> 0:44:08.640
<v Speaker 1>Hot or very cold, very cold. Everybody, So I quite.

0:44:10.040 --> 0:44:11.080
<v Speaker 2>Is it no good or good?

0:44:11.520 --> 0:44:14.200
<v Speaker 1>Not good? Cold? It is not good. You needn temperature

0:44:14.320 --> 0:44:14.760
<v Speaker 1>is perfect.

0:44:14.920 --> 0:44:16.480
<v Speaker 2>Okay, Well that's what I go for.

0:44:16.680 --> 0:44:18.520
<v Speaker 1>Thank you very much, Thank you so much. With you

0:44:21.640 --> 0:44:30.440
<v Speaker 1>an thank you for listening to Ruthie's Table four in

0:44:30.560 --> 0:44:31.800
<v Speaker 1>partnership with Montclair