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And, by his own admission, Guadagnino felt “comfortable” with this story.
“Because maybe I knew the people that I was talking about,” he says.
“I knew the emotional journey they were going through.
Butterflies in the stomach is the most beautiful feeling you can feel, no?
Guadagnino’s film had to hit that same balance of the personal and the universal. “For me to believe in something means to be completely invested in it,” he says.
“To be absolutely honest in my approach, for better and for worse.” It’s a necessary step for any project, but especially so when the subject is this achingly emotional.
“There was something about the countryside in all these films,” he enthuses.
“He showed up at my place in Crema, and we started working together.
It took us a year of back-and-forth between Crema and New York, and we started from scratch.
Ivory finally suggested Guadagnino join him as a co-director.
“But nobody believed in this concept,” Guadagnino sighs. But nobody believed two filmmakers could make a movie together—unless they were brothers, or a pair to begin with.” Guadagnino could be fast and nimble in a way Ivory wasn’t practiced in.
Over the years, he took his producers on scouts all over Italy.