Inti, who was the 9-year-old grandson of Giuliano and Vera, went to see them as they were filming in China. They put him to work and the experience had a huge influence on him.

After filming Marco Polo in China, where they made lots of friends, they return to Italy to film Gli Occhiali d'Oro (English title: The Gold Rimmed Glasses). Many famous actors took part in that film, all of them beloved by Vera and Giuliano.

The first screening of the Gold Rimmed Glasses was a success. Even Bassani, who had written the novel the film was based upon, had good things to say. Inti and her mother comment on the relationship between Vera and Giuliano.

Giuliano Montaldo received a great many proposals for movies. But he remained amazed to encounter so many people who loved the cinema as much as he did.

Vera and Giuliano share some memories about how they found some of their ideas for movies. They also talk about Giuliano's acting, which was not always appreciated.

Vera and Giuliano are each true fans of the other. But Vera can't help preferring Giuliano's directing artistry to his acting skills.

After talking about the past, Vera and Giuliano talk about what they'd like to do in the future: There are places to visit and revisit.

Pupia.Tv – Vibo Valentia [Calabria] – Mass evacuation in Maierato, a town of 2300 inhabitants in the province of Vibo Valentia, where on Monday 15th of February 2010 an entire mountain ridge collapsed, creating a landslide close to the town’s center, putting houses at risk.

This documentary about the life of Vittorio De Sica, Italian actor and film director, is narrated by Marco Paolini. We begin during the occupation by the Nazis. Vittorio is in Rome shooting a film.

Vittorio De Sica did different kinds of movies, both as an actor, and a director, and had great success, although critics appreciated his comedies more than his serious movies. Whatever kind of film he was directing, he laughed and cried along with the actors. They loved him.

When the Americans bombed Rome in 1943, Maria was shooting a film in the San Lorenzo area, right where the freight yards were, the target of the bombing. Vittorio, on the other side of town, rushed to the site. Life would soon become extremely complicated and dangerous for those in the film industry.

Vittorio De Sica, along with other filmmakers and actors, does not want to be transferred to Venice, as has been mandated by the State. There, he would have to shoot propaganda movies for the Fascists. Luckily a Catholic film company wants to make a movie about a train of sick and deformed people on their way to seek miracles at the shrine of Our Lady of Loreto, a popular pilgrimage destination in the Marches region. The kind of train that carries pilgrims is called un treno bianco (a white train).

Our narrator describes what it was like working on the set of La porta del cielo (the Gates of Heaven): the extras, the dangers, the boredom, and the strategies for keeping the cast and crew safe. He also explains how they reconstructed the railway carriages that are featured so prominently in the film.

To recreate the environment of the San Loreto church, the Basilica of St Paul's Outside the Walls was used for the final scene of the film. The crew was accustomed to working in a non-religious setting where they could do as they liked, so it was a full-time job trying to keep their bad habits (such as smoking) in check so they wouldn't get kicked out by their hosts.

During the filming of Heaven's Gate, there were some dicey moments where De Sica had to deal with the German troops and needed all his wits about him. At the same time his crew was cooped up in the basilica and didn't always behave as they should — in fact, tutt'altro (anything but). The narrator also mentions an anecdotal story Fellini told about his experience with the Germans.