NYFF Live: Making 'Call Me by Your Name' | NYFF55

I'm gonna bring down the moderator of tonight's conversation my former colleague at indieWIRE and now at a movie editor at people.com Nigel Smith give him a hand and he'll introduce our guest thank you Brian good evening everyone and thank you so much for coming out on Wednesday night for this talk about the wonderful the new film called me by your name which I think had its second screening at the New York Film Festival tonight and had it's a New York premiere yesterday to us 10-minute standing ovation yeah so I've been told to tell everyone that we are on Facebook live and for those watching at home to have some questions prepared and I'm also going to throw it to the actual live audience members here for questions in about half an hour but first please welcome the director of this amazing movie Luca Guadagnino genome hey I knew I was gonna mess that up [Applause] what I mean oh there you go gluttony no it's simpler than it looks and we also have armie hammer with us and please welcome tin Solomon [Applause] and last we have Tim's father in the film Michael Stuhlbarg [Applause] welcome everyone I'm gonna start with a director statement I don't usually go down this route but I was really really struck by a director statement that was in the press notes I don't know if you're aware of this being out there in the world but um you said that you like to think of call me by your name as closing a trilogy of films on desire that started with I am love which I'm sure many people have seen here with Tilda Swinton and a bigger splash which also starred a mute - for the most part Tilda Swinton can you talk about what about desire specifically triggers you as a filmmaker I think it's because for me I I'm always been interested in exploring what happens when you when you become a subject of desire someone that act out or I have a sort of need to act out the need of the other so I was I was justified I mean we had finished this movie and I was thinking about these three films that were the last three I made and I realized that they were all very tightly linked to the concept of desire but it was a different way for each of the three films and some I mean I think that I see a lot of I see a lot of enjoyment I feel a lot of people who are I see that we are all often driven by the need of to have everything immediately and to and to fulfill an incredible crave to have everything in the immediately just to be left hollow and in need of more and I think that is a sort of let's say at Aalesund over crow / overgrown adolescence we're living in two more I mean I see this around me and in me probably so I felt like desire is a more mature coming-of-age in a way of being like you start to see things outside of you and then you start to desire what is in front of you and your question yourself in front of the other in it sad earnest so IIIi think those are the thing that made me think of these three movies and why I made them the first is a tragedy the second one is almost as like not a farce but it's almost a sarcastic film and this one is only deal and it's really reconciled it's about someone who is young but it's still capable of a connection that is pure that is not biased now could army or Tim either of you two relate to that that desire that he was speaking to and to the adolescent you know hanging fur fur fur one another did you either of you go through similar experiences growing up I mean I'm Tim you're pretty close to the age of the character you're portraying the film but could you two hook it on anything personal within yourselves I the thing that was always a through-line for me as far as the personal experience I had in my life and how it related to the film is just the the way a certain summer Oh so I'm Scott Ian's question yeah that yeah just that have certain summers in one's life can take a tonal significance or a certain symbolism in your memory and they stand out as opposed to other summers weather because of a first love or or an experience you had in a certain city so that was the closest I came to it but as far as the fire you know the very fiery and passionate and ultimately heartbreaking romance the that Oliver and Elio experience I haven't come close to that I gotta say you sell the hell out of it for someone who has an experience that's pretty remarkable did you rely on an army at all I'm sure you've been through a little more heartbreak than than Tim at this point in your I think it's just age no there's been heartbreak but anyway yeah I mean that's this is one of the base things that this film deals with is sort of like the nature of desire and the nature of locating isolating figuring out that thing inside of you and what it is and are you repressing it are you being healthy and integrating it into your whole life as a whole it's you know I mean desires a really powerful human emotion and you see sort of like the fruition of how beautiful it can be in this situation but I know that also if you take that desire and you don't handle it properly it can eat you alive now not to say that word again but despite desire being the through-line of these three films that we just talked about this film didn't really come to you in a normal way I mean it's been ten years in the making but you weren't initially attached to it as a director can you talk about the process of how you actually came on to the project I think you started first as a consultant yeah I spent some it's a long time in Maya dollars and streaming the movies I wanted to make and not make not been able to make them to date actually the first movie that I dreamt of making since my childhood adolescence is Suspiria that I eventually made but so I learned that things that comes to you they don't need to generate from you they can come to you they can be open to things and and maybe they become yours in the specific case I've been approached by Peters peers and I have a Rosa man who started the process of trying to translate the beautiful fantastic novel by Andrea Simon into a film I think ten years ago right ten and a half and because the book is said Dina and declared city called B village in Italy they wanted to know from me if I could understand where it was and it's interesting because I when they approached me about that it was when I was prepping I am loved and I am always part of it is that very nearby the place where and I imagined the story of this film because I am La Vista team San Remo and the next the following city after ceremonies board Agera be and so I started to talk about I started to be involved into this project as a sort of consultant like where he said how do you how could you conceive a movie shot in Italy that has to be in a way American in its DNA and there were many many variations incarnations attempts to make this film many many many we were we were rolling the names and the people before on the backstage really give us an exclusive on any major filmmakers that we see in the future in the future once it's out and and every year was alike a stop-and-go every year was a very frustrating because it was difficult because we knew we knew that the book was amazing and there was a way to make this movie into a good piece of material and and finally and after a long process in which with the involvement of the legendary James ivory who is a friend of mine and who is a friend of Peter and with a friend of Howard and who was involved as a sort of Godfather to this film who came to see me in my house where we should not be shot in the heart but in the in village we started to fantasize and and and and to think of how it could have made this movie from this book you know the privilege of being a filmmaker and having friends that are all colleagues is that you can be with three of them and we can all make a movie with an iPhone you know like it's easy you don't need a contract you know like you would do it and we were with the change so let's do it and you shot this on thirty five-millimeter very different which is very low it's very how do you say it's very low technology today now it's all about 65 digital and things and so but I have respect for 65 millimetres film film I think that what the height have on how am I made with the Nolan is I was outstanding an astonishing so just give us the short rundown of how exactly you landed the project how that all worked out in the end well I don't know I think because of them yeah yeah it's because of them so lets them speak yeah yeah well let's open a post kinda house can bring it to these guys soon casting is so important obviously in a film where chemistry is everything did are me and Tim chemistry test did you guys just read the script and both respond to it it gets signed on the dot what was the process of you both coming on to the film well I met with Luca with four years ago a couple blocks from here actually we got breakfast together and then I met with James ivory soon after that and there was kind of a loose plan and put it together that summer but it but it never came around and it always seemed like the project that was too good to come true and that the opportunity that oh he's on paper seemed like a dream role but that it wasn't going to happen and if because the powers that are way ahead of my paygrade and eventually it did and I get out totally about a month early and I think I met army a couple of weeks before we started to film I was the middle one of the piano lessons for the film and army barged in like this then mr. Perlman arrived and then until we wrapped I think we met mr. Perlman but not mrs. Tolbert I know that's it yeah yeah an army I'd met with Luke maybe two or three years before yeah I think we met in 2010 yeah so I went and had tea at his house and then didn't hear anything bad for four years or so and then my agent called me said you know there's a script it's Luke is doing a new movie and I was like I mean he's like you might want to read it first and I was like okay an Italian yeah that would have been a shock but then I I read the script and I after having several really great conversations with Luca I came to the conclusion that there was no way I couldn't do this movie Michael your character has the emotional highlight of the film in my opinion the monologue at the end that destroyed me the two times I've seen the film it's an incredibly empathetic monologue that you give how did that play a pivotal part in you being really excited to take this role on given the message that you're able to convey in that moment on screen I think it was every aspect of the possibility of making this movie that excited me to be a part of it that was absolutely a highlight for me but at the same time getting to work with Luca and then getting to work with these these young beautiful and and to experience we at least in terms of my material in the film we shot it very much in order so as professor Perlman watches what's happening between these two I got to watch them as well over the course of the making of the movie and to get to say what I got to say was a kind of climax to the whole time of making the film so it it it grew and changed in me over time and and and it was absolutely a highlight it's really beautiful do you normally shoot that way or was that just the case with this film you chronological ass but I think you always try we try and you fail but in this case we succeeded more or less yeah but we did because it was contained it was in the same place and it was easy to go out in and out to the house yeah so now you shot this very close to where you actually live correct yeah how far with a mafia survive you know the house is five kilometers away from but we shot many scenes in crema and we even shot in the in the square where my building is and in the courtyard was that like as a filmmaker to be able to go to your own bed and heard I am really bored by the process of filmmaking I hate it I don't like it at all I'm not making a joy it's true like that there is development which is hell there is preparation which is exciting that is shoot which is a drug and then there is post-production editing which is fantastic so the part I like the least is absolutely the shooting so at least that this movie was less bad because I was going back home and sleeping in my what is it the actor is like what do you hate so much it's 50 people asking things and also it's it's like it's like the effort you make to make things happen like it is we all make an effort together and it's the tension you know it's very tense funny when you do like you have this scene and you have this long monologue and then you've got okay action and then you're like this until it's over because you hope that it's gonna go good but 90% of the times goes wrong and then you have to start again I hate it that's why most of my collaborators are people I've been working with since 30 years 25 years because at least we can gossipy we can be there did he won't get this sense while making the movie or was it a blast it was an ordeal what about the tension I mean is that introspective I miss it I wish I was there now doing the moon shooting the field yeah it was great time it was a great time I have to say and you all came to set long before the making little not long before but like a few weeks to get acquainted with one another right yeah I came out about three or four weeks before maybe three weeks before we were supposed to start shooting I know to me you had there longer like a month maybe a month and a half a month so that never happens well I Luca told me as soon as I was finished doing a play in New York to come to Italy as as soon as the play had wrapped just to get a sense of the tone of the town and just what the energy was like and in a place like crema or what an Italian summer would feel like so I got out there a month and a half for that reason but also for the Italian lessons for the piano lesson schedule was Guardian lesson guitar lesson he had the piano lesson he has true and I have a whole schedule it was like I was like summer camp except can you tomorrow yeah yeah you to take on all these things what did you know how to do was like works for a marvel yeah well because really you speak French you speak Italian you play the piano and a guitar right and you well you do a little bit of swimming I guess not really it kind of just dip into a pool swimming thankfully that was yeah exactly right did you do all that before the making of the film was just brushing up or I mean the for what it's worth the I I guess I'd played the piano a bit in my youth youth you know like 7 to 12 years old and but not to the level in the film and I worked with a really brilliant composer named Roberto sulci who lives in crema where we shot the film and did have lessons with him every day and and then by the end I like in the film it seems like I'm riffing them or there it's supposed to be improv which is how it's written in Andres book as well and the reality of it is that up for a month and a half I was slaving away trying to you know make it half of what Andre described Elio to be able to play in the book now this movie is really the definition of a slow burn when it comes to sexual tension how was that to convey that without teetering over the edge for so much of the film and having to really convey that with not words but with glances and when they do address it they kind of go about it in this funny way where you know you don't actually say it unless you really read below the lines what was that like to play as actors to not be able to fully convert tell you know each other as as your characters what you were feeling I find you know it felt tremendously freeing a lot of I always like in the film that the the moment were seems like the love his first revealed it plays out in a very long wide shot and I don't know I like to play things out in long scenes and so much of this this story in the book and the screenplay hopefully how it comes off in the film it is a physical dialogue and a push-pull and a wrestling match we're a wrestling match of sorts so we get from their perspective of acting I've found it to be tremendously freeing it doesn't feel like you're restricted by a frame that's only here and then you have to play everything in a close-up it was also really nice just to do a movie that didn't have any exposition in it yeah you know not like and besides you also have to remember that the captain is over there you know there's like none of that so and it was also it felt like a much more authentic rep replication of how people actually speak very few people actually say what's on their mind they always kind of you know I was thinking that you know maybe we could try that it's never people are never direct so to get to play that especially with two people who are incapable of being direct because they still have so much to learn about themselves and about the world and and who they are you know so you're watching two people really try which I think feels very analogous to a lot of the situations we find ourselves in how much do you all rely upon the source material the book is told from a Leo's perspective there's Andre assman right there there we go oh wow oh my gosh everyone given a [Applause] no idea he was here that's amazing yeah as I was saying the book to his hold from Elias perspective so you obviously had a lot to work with whereas army you didn't really have much to work with you had to kind of create this this character to give them you know your own perspective a personal perspective what was that like for the two of you and how did you all three of you rely upon the text of the book with regards to the script well I think it's exactly as you listed it it's there's a tremendous amount of source material so if you get lost in a scene you can easily go to the book and and thanks to Andres writing figure out exactly what what what your character is going through certainly because it was told of the first person of Elio so there's a certain abandoned you want to have at the scene you know want to restrict yourself but certainly in the moments where I was lost it was it was it was like a like a Bible of sorts to be able to go back and and see what the characters actually thinking there were things that I remember reading that were only in the novel that were not in the screenplay so in a moment he were there I could use it as Timothy mentioned as a kind of Bible from which to draw upon to perhaps add some things if it was only physical movement it was taken from the novel if it was there I I tried to steal it yeah there was a great moment when we were shooting the scene in which mr. Portman speaks to the son in which she said to me look I remember in the book mr. Perron used to draw his his paper on the table and I say yeah and you throw the thing it's fantastic yeah yeah that's from the novel as far as far as sort of Oliver from the novel so much of so much of the novel is so beautifully written in a prose where it's feels very much like the sort of the interlocution of Evelio and it's very subjective about how he's because he's a you know an emotionally tumultuous young man so if Oliver would come down in the morning for breakfast and say hello to him then Oliver was the greatest person in the world like look at him he's so he's so wonderful of Allah but if he came down and ignored him or didn't say hello then he was a son of a like that guy you know so there was he because of how intense the emotion that they felt towards each other was especially elio towards Oliver the book is sort of like very intense in that way so you kind of have to go through and decode like okay it's up here so maybe I'll go here and it's down here so maybe I'll go here you know kind of figure it out that way yeah also army just did the audiobook so that's something to check out in its entirety interesting which was then really weird after spending so much time in sort of Oliver world to go and yeah yeah crazy let's talk about the sex scene in the film where the lack of which I find really interesting because the film builds up to this moment when they first go through with the act and yet your film kind of glosses over that and finds them you know being intimate with one another after that what was behind the choice of not showing that on screen I remember the script was pretty graphic in the description of the first time they make love correct guys and I was struggling with that because there is always coming from someone who debuted in 1993 with a short film that was pretty out there called here and I think that I think I'm interested in in in the representation of sex between people if that is in a way an insight about their behavior and who they are but if it's an illustration of if it's a sort of transition I type just don't care and I think we had everything we needed in the in the movie about their intimacy and their necessity of attraction to one another I found much more erotic when they put be feet on top of the feet and one after the other what are you doing and I said nothing and you know that moment is so strong and so powerful because it dictates an urgency of intimacy that what-what would have we gained in seeing the actual physical act between the two of them I think not much and I also like the idea that we the case goes toward the window and to the to the trees like in a McCarthy era movie I like that the Tati we were free to show everything and we decided not to and in a way it was a very liberating experience and by the way the fantastic teamwork of the camera crippled people like they were like 10 people like trying to get to the window doing this much has been written I have to bring it out we had a little sexy scene between mr. Perlman and an Ella oh really yeah then we cut what happened to that so you shot it yeah it's beautiful scene Michael please tell me about the same [Music] it is beautiful maybe what we should you should we should find a way to show it one day director's cut bonus DVD extra ok interesting the peach scene who's read the book alright so we have a handful of hands I've read that you initially I didn't want to include it in the book or that genes are interesting because also mr. a semen can confirm that he was as indecisive as I was for his book correct for his novel because the book is a wonderful pristine novel we can say that proof said to his made the Celeste Alba rile one day when she was clever she was complaining about him writing Sodom and Gomorrah he said to her there is not something that cannot be said it depends on how you say it and I think that for me the problem was that the experience of the individual experience of the reader reading that page which belongs to the Canon let's say of the unfilmable and being myself an avid reader of very extreme literature it is in a way it was a challenge but it was also important to for the development of the relationship between Eddie and Oliver that we had that scene so we couldn't grasp I couldn't grasp the why and how positive anchored all the fans of the book who wanted to see that science with all the due respect I don't care we took very big liberties from the novel of things that are very iconic from the novel and I think we were right because the movies is another medium but then I think what was great about that scene it was the relationship the first part was the relationship between the fruit and alia and this kind of unconscious desire to use it for that mean for that mean and and then the outcome of it which is the second part is when finally those two boys they they realize that there is much more at stake in their relationship that just a summer fling and so when we decided that the center of the scene was going to be the bone of the beach and and the way they could find one another at the end of the scene it was easier but at the beginning I was struggling yeah to me I found it more essential than a sex scene and even though obviously there's no I think split so well yet is this accent yet correct um but for for Tim you know you're just starting out in your career were you nervous apprehensive about shooting such as such an intimate solo sequence as that one yeah I think there's a certain anxiety as a young actor you don't want to find yourself in projects that deal with sexual material salaciously or exploitative ly but if you watch I am loved and you watch a bigger splash the sexual aspects of those stories there in service to the story they're not the start of the movie and certainly as you put it for me as well I think it's a metamorphosis of a lot of ideas in the film that love is boundless and you can't really define it and and the scene itself carries the the join and naivete and the instinctual sense of desire that these two guys have and then also the tragedy in the second half of it when when it you know it takes a turn south just to cap this off with something sentimental I want to know from each of you what the experience has been like of sharing this film I mean it received such a rapturous response at Sundance World premiered and then he brought it to Toronto and it's great here last night to attend minute standing ovation I heard that never happens at the New York Film Festival people loved the film what does it mean to you all that people are responding so positively to all we hate it you hate it you wanted fantastic fantastic it's it's you know it's fantastic i am i trouble is that I still don't understand how I managed to be a director so it's constantly something that if I pinch myself first of all because I'm doing it but then when you do something and you get these kind of generous embrace from vast multitude of people that you don't know personally that they cannot you know it's not about like showing the movie to your friends it's something completely different than it there is a very big responsibility out there when you when you do something and you put out in the world it has been fantastic to be honest really fantastic and I and we're really proud to have started our Jordan thunders because there was something magical about that night and the collision of all the elements big storm of snow outside and that kind of audience but in general the audience's of this win have been very generous to us so we're very proud very honored and humbled I will add though that this entire experience and the warm reception to Lucasfilm it really doesn't even hold a candle to what the actual experience was of making the movie so I have that so this is great but that having that experience is something that you know will stick with me forever so we're gonna open it up to the audience and then to Facebook yeah thank you question man oh sorry and microphones are coming around so please just wait yeah yeah it's for the face for it that's right down here yeah in the front row second row in the middle hi guys my name is Kevin Lucca first of all I just want to say that this movie touched me very deeply in the summer of 1983 I was actually 15 years old not far off from Elio and very much in that confused and explore a state and even later in the 80s I had relationships with not one but two guys who actually did happen to be graduate students older than me so when I this movie it was just all over the place for me and I really loved it but there's one thing that you did in the movie that I really liked and I haven't heard you talk about this yet I thought it was so beautiful at one point in the film there's a conversation where I can't remember where it was people are saying what is cinema cinema is reality and something there's no cinema is reality and then it's a it's a filter and then there's the scene where I think Oliver's been gone all day and you Leo doesn't know where he is and he's sitting on these stairs at dusk and there's this young Steven song playing and then you sort of break the fourth wall and suddenly we're seeing the film flashing different exposures and you see the sprocket holes of a strip of film flash across the stream screen and suddenly reminding the audience that you are watching a film and I I was I just love this I was really struck but I thought it was beautiful what she did there artistically and I was trying to think all night from last night what did this mean you know what kind of meaning came from that was is it because Elio maybe in his mind their relationship was he was imagining the relationship with Oliver as this sort of perfect Hollywood relationship that would have a happy ending yeah no one behind that was about well I hate gimmicks in cinema and I cannot stand it sounds like you just hate everything and said no it's true you know this movies that are used to click the tools of the technique and you know it's easy you can you can play with them as much as you want you can turn the camera on many times spin jump whatever you do whatever you want so it's not something that I calculate that it's just that the lab percent of the raw and it was it up and we watched it with my editor and it reminded me of the way in which score says that makes Jesus Christ go in heaven at the end of the last temptation of Christ well they were basically when he said it is accomplished the negative of the coming of the film starts to flip and and it was beyond much more powerful than even the trip in 2001 for me it was simple and it connected me with the idea of the miracle of cinema 24 frames per second so when we watch that we couldn't we're so lucky we were we couldn't believe how lucky we were to cut that material the lap was really freaking out insurance policies and stuff fine we love it and we put it there and then we put we wanted this we already knew we wanted the song of Sufjan Stevens and I had hoped the great director of photography who cyan boom octave prom to lead the scene so that it was a silhouette and so we had all the elements but also with this new element so retrospectively and really unconsciously because it happened without me and my my my controlling it I think it's really about how ephemeral is the it is what is in that moment yeah it's my favorite part of the field to be honest yeah thank you hi I've been kind of trying to find my way - what's articulating my experience of the film which for me was extremely direct and one in which I completely was enveloped and identified and so on and what I've come to so far is that for me it was a film that came completely from the inside there was nothing that came to it as many films are you feel that but this was an internal experience and also very physical the physicality of it and I'm not just talking about the you know the sexual steams but an unforgettable moment for me which made it seem it was not at all for me superficial is when Elia was just walking and all of a sudden he spun around and that remain incised in my in my memory and that brings me to my question which is I'm wondering how much direction you did of the actors and how much came from them I think the outcome of the way we made this movie is our communal sense of being together it's together nice and it's about faith trust mutual trust and I don't think that a good director should say to an actor or an actress exactly what to do sometimes for an effect you need you may need it for a shot but in general it's about being in tune with the it was quite quite clear it's I think it's the most bastok and courageous job because it's so raw you know like the director to be an actor it takes a big big leap of faith and also I think that I'm interested in in finding them the perler people in the characters to try to make sure that what we see is a combination of the characters and the people making the characters I think that's much more fulfilling and it's in the great cannon in my opinion of the classic cinema and its evolution afterwards in the 60s with the new Volvox you know when you see a movie with Brando it's Brandon is the character you know please forgive the audacity of my comment I'm French we are very audacious like the like the Italians I have not seen the film I've sat and looked at you and hear you and I cannot hardly wait to see this film because of the poetry in your sharing because of your hearts and your passion and it's like cinema verite and i am going to be for an extraordinary experience and treat merci beaucoup Madame [Applause] hello thank you for being here my question goes to when the two main characters meet each other for the first time so when it comes to romance movies usually love at first sight is a significant moment in a movie but we don't actually see Elias face when they give the first handshake to each other so was that a choice to not have that moment's be significant or having that portrayal of love at first sight being shown to the audience I'm not very well prepared and educated by the rules of the game of how you put together a scene I really follow what I think is the best and - for me to see these you know he comes down kissed a mother I mean I don't know I don't know I really don't know I don't want to sound arrogant I just don't know and and sometimes for for the speed of the moment because you don't have a lot of time you may hold on some kind of textbook rules and usually it's bad in that case that I think we had all the element I wanted everybody in the scene I didn't want early on Oliver because bottom line this for me is a movie about the family and it's about the transmission of knowledge between generations and people and it's so important that the foundation of that includes earlier Oliver Marcia mr. Perlman misses paramount all of them and that's what it's a dance around the place which everybody they gather together and they started this adventure together you were trying to portray love at first sight correct or or was that part of your plan well I think there is an element of that in like some sort of like wow because the position that Elia has is of control from above so yeah it's yeah maybe Facebook time or yes yes okay yes facebooked I'm sorry I'm not Facebook he we have a Facebook question Maria asked this movie is incredibly emotional and affecting in a way that feels so close to everyone who sees it can you talk about the experience and what it did to you that you'll carry with you for the rest of your life kind of well specifically what about the makings or as Army said you know this is an experience he'll carry for the rest of his life why is that what about the making of the film specifically was it that all of you working together was it the subject material was it being in Italy for a month D all of the above this is simple and generous for everyone the panel what's your favorite classic film classic film I mean anything yeah journey to Italy by Roberto Rossellini with George Sanders and Ingrid Bergman is I think the movie that influences me the most one of my favorites has always been Cool Hand Luke for me it's a night of a hunter with Robert Mitchum cabaret oh good choice gonna do one more now uh yeah sure so there's many people that have asked about a sequel but I'm gonna improvise that and say maybe you could just talk about your continuing friendship perhaps past this movie and or if you wanna talk about a sequel you can do that too we need a book right well no because hundreds book dozen finishes with the end of the summer it keeps going for another 50 pages and goes through time in 20 years time so to go back to the first question I think I personally have discovered my complete absolute passion for these characters in these and Andy and the people we made the movie together with and because I am an old-fashioned cinephile I think that maybe there is a place in which we could try to make a cycle of films about these people the way that the glorious legendary cycle of Antoine dwinelle has been made by two for definitely I don't think that the life believes the lives of Allie Oliver mr. Perlman and the rest of the gang it is completed by the experience of this very first film so maybe who knows my gosh you heard it here first would you all it depends on them because you know that they will they do it with the memo yeah I meet you okay okay I think that's everything thank you so much everyone for coming out thank you and please let the talent leave the building before everyone gets up

Channel: Film at Lincoln Center

Views: 331,605

Keywords: Film Society of Lincoln Center, Call Me by Your Name, New York Film Festival, NYFF55, Timothée Chalamet, Armie Hammer, Luca Guadagnino, Michael Stuhlbarg, Sufjan Stevens, New York Film Festival 2017, film, movies, interview, NYFF Live, peach

Id: JCJquKusENs

Length: 46min 2sec (2762 seconds)

Published: Sat Oct 07 2017