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Over the years, he took his producers on scouts all over Italy.
“The book is about this specific place called Bordighera,” Guadagnino explains. We showed them the Bordighera village and a possible house that could meet the storyline.” Later on, he says, “we imagined a different setting; Sicily.” When the original director dropped out, they went to another and another, and the dance of seduction lasted varying lengths of time with each, until all of those suitors fell away.
Certainly, there is a cross-generational controversy ready to ruffle some feathers, but that feels almost incidental.
As Elio and Oliver’s attraction deepens, moralistic arguments seem weightless.
Also Pialat’s À Nos Amours, and Téchiné’s Wild Reeds.
“There was something about the countryside in all these films,” he enthuses.
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.
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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.
“It was important to me to make this happen for James. He was used to tight shoots and compressed schedules, and that would be attractive to financiers.
It soon became undeniable: if this movie was going to go ahead, Luca Guadagnino would have to step up. We did it because we wanted to do it.” So what was it about this story that inspired such fevered devotion, and yet such hesitation to take the reins?