Ferrari Drama On and Off the Race Track Hollywood Reporter | Summary

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  • “I researched the whole starting list of all the race car drivers in the 1957 Mille Miglia to make sure that the crowds would be shouting out the different drivers’ [names],” he says, reporting that pit crew dialogue was similarly researched and scripted..
  • The emotions from Lena listening to the song [evoke] mentioning to Enzo she is pregnant and looking at her joy.” For Laura, who is at home listening through a window, “we flash back to Enzo dancing and singing that opera while she’s in bed with her son..
  • Mann was interested in being close with the actors and linking each character’s emotions and relation to that song.” He notes that Enzo’s reaction to the opera “is about flashback with his [recently deceased] son, Dino, on a bicycle on a hill..
  • “We see her in her room surrounded by photographs of her past with her son leaving for war.” He adds that a lot of time was spent on that scene — “shaving frames, tightening it” — to convey how they feel and how they’re connected..
  • The reactions on Penélope Cruz were amazing in the dailies, and trying to pick the right amount of reaction in terms of tears or a smile, that’s the delicate part of it.” He adds that Enzo’s mother, Adalgisa (Daniela Piperno), also suggests loss..
  • Supervising sound editor and rerecording mixer Tony Lamberti found a 1957 Maserati 250 F1 and 1953 Ferrari 250 Mille Miglia PF V12 owned by Pink Floyd drummer Nick Mason and a 1955 Lancia Ferrari D50A owned by billionaire Anthony Bamford to record specific sounds for the racing scenes..
It is almost like a Shakespearean drama with a lot of cool action, says twotime Oscarwinning film editor Pietro Scalia of Michael Manns new Ferrari, which is based on the biography Enzo Ferrari [+3459 chars]

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