... With Pasolini
you began dating outside the theater and set?
Pasolini hated the theater. Even Moravia (the deafness is not helped him: laughing noisily always late on the stops, including the embarrassment of the audience puzzled, after consultation with the Dacia Maraini, close to armchair).
always came to see me, Elsa Morante, who loved me. Moravia we met with these parties 'noble' in Rome. By Pier Paolo we often saw. He said: "The theater is vulgar, just bear it with you all."
I shared the stage and its Citti Davoli. We share these 'thugs'. And we shared things.
Eclecticism madman?
Pasolini To me is the greatest philologist and Hellenist we had in Italy. As a novelist interests me much less as a filmmaker almost nothing (I said: "The film is a fever, do not stop when you start over), apart from Salo-Sade, his very private ruthless will. "This is me, finally," I said, a set is completed. In Salo there are things that do not belong to cinema. His unspeakable D'Annunzio, in this lucid reading of Sade that belonged to him ... he was a violent.
I could not blame him completely to someone who said, in these night bars in Rome, which was a kind of pasture PierPaolo child.
In life he was voted a neurotic self-destruction. If he went looking for that end. He slept twelve hours and twelve in township who watched the punch, ran wild on a motorcycle who drove from God.
He was a pamphlettista, wrote essays and novels, movies, calendars tore, he followed the time, but there was not time for him. When
teases him about D'Annunzio went on a rampage. It was enough to make the name plates and flew with all the tablecloths. "I do not appoint him," screamed hysterically with his voice. It was his cote, the poet, who wanted to remove. I repeat. S'incazzava more.
"End of a corruptor. Under the headline, the photo of his disfigured body. It 's the cover of a magazine at the time.
intend to be explicit once and for all. Pier Paolo Pasolini was in any sense a corruptor.
Corruptor of the town feelings and social habits. He had a horror of the state as a concept (I fully agree with him on this) and its institutional abuse. Almost as Genet did not just theorize dissent, but ran himself into a violent and scandalous practices, seemingly at odds with his moralizing anti-capitalist and anti-Marxist, living all the way this extraordinary and destructive energy that includes the above autocorruzione his own. A
metastases crumbles any temptation of ideological aesthetic appropriation of the right or left. PierPaolo he hated his neighbor as himself. Hence, in the end, the most cheerful, our local, identified with the ghost Sadeian interpretation.
Sade (the high ethical figure of human history) is criminal in writing. Pasolini in life.
you particularly impressed Pasolini's death? The way she died?
displeased me very much. We were close friends. But I knew that would happen. He was 75 and was playing Hamlet in Milan. A fool I broke the news in the interval between the periods. In the following days playing in Naples, going around, spit in the audience, young men who mutinied: Pasolini giggled!
The younger generations were in my party. For them, the death of Pier Paolo was a very serious loss. Call on him. Somehow we identified ... If he was asking for this purpose. I knew that once or the other would not come out alive from one of these meetings. They are dangerous games. It is already known. He knew it. The rest is material for the judiciary, but he died. Dead forever.
What was around you?
A whole different environment than the one today. If nothing else around there was a cultural layer, without which nothing ever blooms, roses do it plugs. With the current vacuum flock only supermarket products.
Beyond the critics, I found them in my human review. I needed it. Dealing with those who believe it. Today, with whom I compare? The absolute vacuum. Similarly, it was useless to go on stage. In France I found Deleuze, Foucalut, Mandiargues, Lacan, Dali, Klossowski. Meanwhile in Italy were all gone. Pen, De Chirico, Flaiano, Turcato, Moravia, Morante, Landolfi, Eduardo de Filippo, Pasolini. All die in a few years. No one has replaced them. Just one of these, you know, to alleviate the tyranny of the mob, this useless slaughter, endless acres of meat without concept.
- transcription by: 'Life of Carmelo Bene' Carmelo Bene and Giancarlo Dotto (Bompiani)
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