Me, You, which world premieres this week at Rome Film Fest, is the latest film from Oscar and Palme d’Or winner Bille August.
Adapted from the acclaimed novel by Erri de Luca, Me, You is about being young and falling in love for the first time. Set in 1950 on a small Italian island, it tells the story of Marco, a fourteen-year-old Londoner spending the summer with his family, and his encounter with Caia, a young Jewish woman orphaned during World War II. Marco is played by Kolbjörn Skarsgărd and Caia by Sonia Ammar, with Brian Cox and Tim Roth among the cast. It was filmed on the Italian island of Ventotene.
Danish filmmaker August has won the Palme d’Or twice for 1989’s Pelle The Conqueror – which also won an Oscar – and for 1992’s The Best Intentions. He recently had a global hit with TV series The Count Of Monte Cristo.
Me, You is produced by Italy’s Eagle Pictures and France’s Kador with Rai Cinema from a screenplay by Greg Latter. Eagle Pictures is releasing the film in Italy.
What drew you to this project?
I read Erri de Luca’s novel and it was one of the most beautiful novels I’ve ever read - the purity was amazing. But I thought, ‘How the hell do you transform that into film?’ Film is such a concrete world. At the same time, it is not only a love story, but about what happens to people who have been through a traumatic, difficult time in war. To combine these things was the biggest challenge. When you take a novel into film, you have to dare to be unfaithful to the novel - so it was a lot of work.
It has taken over five years to bring to the screen – why so long?
It’s always about financing. It’s very simple. I’ve been through it before. I made one film that took 10 years. You do things in between. You’re waiting, and all of a sudden, it happens. The great stories will always find money, but it’s about the timing and also about the casting. A lot of elements have to come together, but mainly money.
What kind of budget were you working with?
I don’t know, but I had enough money. I don’t want to have too much money. I did one production, a studio film, where there was just too much money. I didn’t like it because it puts so much pressure on you. Everybody gets nervous and wants control. They want to make sure they don’t get fired from the studio.
If a film requires a certain budget, then you should stay there. Spend the money on the screen, and don’t waste anything. I’ve never gone over budget. I just don’t do it because it’s a commitment with the producer. I think that’s maybe do with the tradition and background in Scandinavia where you have a certain amount of money to make a film, and I respect that.
What was the casting process like? Your young cast are steeped in the industry. Kolbjörn Skarsgărd comes from the Skarsgård acting dynasty, while Sonia Ammar is the daughter of Eagle Pictures founder Tarak Ben Ammar. How did you come to choose them?
We had a long, long period of casting the role of the boy in England because he was supposed to be British. The tricky thing was we wanted a boy just before he becomes an adult, before his voice breaks. All of a sudden, somebody sent me a tape of Kolbjörn. I didn’t know anything about his background or where he came from. I just looked at it and said, “Wow, this boy is amazing, he’s right, has a charm and a screen presence.” Then I found out his whole family are all actors. But the moment you start to work, it’s all about your character.
And how did you come across Sonia?
I was visiting Tarak from Eagle Pictures, and she was in the room. There was something about her. We were also casting her [role] in England. So I thought, let’s find out about her. Then I heard she was an actress, and I got her number. I contacted her without Tarak knowing, because I did not want any feeling of nepotism. She did a casting table, and she was amazing. So I called Tarak, and said I’d like Sonia for the part.
What was his reaction?
I think he was happy, but he also said we don’t do nepotism, it doesn’t help anybody.
What was your experience of filming in Italy like?
It was a wonderful, very experienced crew. They make so many films here – they are very committed and have no ego. You go to certain countries and there is so much going on in terms of ego, but here there was nothing. It was just very professional. The key is that you must have a strong local producer (Eagle Pictures’ Gianluca Leurini) who can recommend people who are great professionals and who don’t have an ego that is bigger than the film. There are a lot of prima donnas around. And it is damaging for everybody.
You made this film after shooting The Count of Monte Cristo series. It must have been a big contrast?
Yes, we shot this film last November and December. Monte Cristo was eight hours of film. It was a hell of post-production. But when you’re in post, it’s not so tiring for a director. You just make decisions on something that’s done already. You can start to think about the next project.
And what is next for you?
We are working on a film about Julius Caesar [with Italy’s Palomar] that I hope will shoot next year.
Will that film here in Rome?
Maybe. We haven’t started locations scouting yet. It’s a big and relevant project, especially today with all these different politicians around the world.
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