I'm always honored, but I think for every 100 of those that come along, one of them is actually going to happen. And, the fact that this was an offer on a major film that had a start date, was pretty impressive.
I really would have been stupid not to have done it. It was also a film that was actually happening, I mean, Miramax was doing it, and it had a kind of legitimacy to it. And once I read the script, I was there.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.
The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.
Then I realized my early work did have something special that audiences adored apart from what I humbly thought about them. They occupy a distinguished niche in Italian film history and probably always will.
For behaviorist films, that's been much more useful - the change of technology - but for my kind of films, doing them on film is much better, because it's more beautiful.
Now that I can edit the whole thing on AVID and edit the whole thing on tape, maybe I will do the next digitally, because maybe the quality will become less obvious between tape and film.
When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.
