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<v Mrs Marciano>we cut it off. That's also part of the filmmaking.

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<v Mr Marciano>So make a little funeral for them.

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<v Mr Marciano>Yeah, do I need to say more?

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<v Mrs Marciano>No.

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(Music)

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<v Mrs Marciano>Life, creative work and everything we are figuring out together.

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<v Mrs Marciano>Today we're going to talk about something that I thought would be much easier than it actually was.

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<v Mr Marciano>Could you work every day with the person you live with?

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<v Mrs Marciano>Because I thought that we

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<v Mrs Marciano>already knew how to be a team.

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<v Mrs Marciano>We were aligned in our personal life. We knew each other deeply. We knew how to make the other happy,

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<v Mrs Marciano>our roles and responsibilities in the household.

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<v Mrs Marciano>So

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<v Mrs Marciano>I didn't think that when you came with the idea, "Let's make films,"

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<v Mrs Marciano>that

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<v Mrs Marciano>I was like, "Yeah, of course. We're a great team. Let's create together." I was optimistic about it. I didn't think that it

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<v Mrs Marciano>would actually mean that we were entering new roles in our lives.

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<v Mr Marciano>I would even say we've

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<v Mr Marciano>entered a new world for us. We didn't know each other

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<v Mr Marciano>from this perspective at all. It was entirely different, and we weren't aware.

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<v Mrs Marciano>And it all started with one camera.

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<v Mr Marciano>It

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<v Mr Marciano>was because of your first music video, right?

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<v Mrs Marciano>Yeah,

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<v Mrs Marciano>I had my first song, and I wanted to have a specific music video. We were thinking about whether it was better to hire someone for that job. And then came the thought, "Well, it's cheaper to buy the camera. Let's make it ourselves," right? You already had experience with photo shoots, so you were familiar with cameras.

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<v Mr Marciano>With cameras and pictures, let's say.

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<v Mr Marciano>I remember really nicely that the camera cost less than the offers we got for the music video. And I remember that all my life I had a passion for music videos that are actually short films or micro films. So I remember that the very first music video for you, like

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<v Mr Marciano>doing it myself, supporting my wife—it was years ago—

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<v Mr Marciano>was like "okay, let's shoot it".

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<v Mr Marciano>That's something that like

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<v Mr Marciano>a short or micro film with a story. Yeah, and it

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<v Mrs Marciano>was fun. I didn't need to care about anything, I was just in front of the camera handling only what I do.

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<v Mr Marciano>You were the musician, you didn't need to do anything actually.

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<v Mrs Marciano>But it didn't stop with the first music video because you liked the process of shooting so much you wanted to take the camera everywhere. Like any trip, you

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<v Mrs Marciano>didn't want to just...

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<v Mrs Marciano>I think that you would not enjoy the trip without the camera, you wanted to capture everything. And not just like a travel video, but you wanted to make something special, like a commercial or I don't know, it was like short film maybe in some way.

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<v Mr Marciano>For seven years or so, we've never been anywhere without a camera, having a normal vacation.

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<v Mrs Marciano>We tried.

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<v Mrs Marciano>I remember

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<v Mrs Marciano>once we were on a beach,

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<v Mrs Marciano>lying down, sunbathing, and I had the warm sun on my face.

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<v Mrs Marciano>And after 30 minutes or so, I heard your voice.

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<v Mrs Marciano>"Are you having fun? I'm bored." Yeah,

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<v Mrs Marciano>so I think it has changed the way how we spent our vacation, that it was

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<v Mrs Marciano>not just relaxing, but somehow it was creative work as well.

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<v Mr Marciano>Yes. And

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<v Mr Marciano>I think that I saw

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<v Mr Marciano>plenty of cities I wanted to visit in my life, like Chicago,

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<v Mr Marciano>just through the monitor. Like through the viewfinder. Yeah, through the viewfinder. And yes, we could walk in the evening and so on,

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<v Mr Marciano>but the fact is that most cities I saw, or used to see, just through the viewfinder.

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<v Mrs Marciano>Yeah.

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<v Mrs Marciano>Well, so moving forward in our story, you came with the idea of making a film.

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<v Mrs Marciano>And I remember the first shooting, the first day on a set

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<v Mrs Marciano>was like,

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<v Mrs Marciano>I was there just to assist you. I

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<v Mrs Marciano>You handled everything. So I was there just waiting for you to tell me what I could do. And I remember you were fully focused, and you were not talking to me until you needed something. And it was really straightforward, like, "Move the light to the right. No, the other right. No, don't move the stand. Just turn the light—the light itself. Yeah, leave it." And yeah, it was a

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<v Mrs Marciano>little bit.

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<v Mrs Marciano>I mean,

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<v Mrs Marciano>in our relationship, the communication is full of empathy and full of assurance. And

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<v Mrs Marciano>I was like a little bit in shock that I didn't know this kind of.

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<v Mr Marciano>Pretty straightforward communication.

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<v Mrs Marciano>Yeah. And I remember like after the day,

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<v Mrs Marciano>it was quite

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<v Mrs Marciano>intense.

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<v Mr Marciano>I remember you came to me and asked if I'm mad or something.

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<v Mrs Marciano>Yeah. For me, it was almost like a conflict. I was keeping myself at a distance a little bit. So I did everything you wanted, but I kind of felt off about it. And so I asked if something was wrong, if you were mad.

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<v Mr Marciano>I just said there were no emotions at all. I was just focused on the delivery.

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<v Mrs Marciano>Yeah. And you were actually surprised that I could take it this way. You were like, "No, no. You helped me. Everything was fine. It was great."

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<v Mr Marciano>Yeah, I was really proud of you.

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<v Mrs Marciano>I remember I told you that. I'm sorry, but it wasn't hurtful exactly; I just didn't like the way you talked to me on a set. I remember expressing this.

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<v Mrs Marciano>Then it got even stranger later when you tried to communicate the same way as you would with me normally,

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<v Mrs Marciano>on a regular basis. So it was a scene where I was supposed to hold the camera because you were the actor. You briefly explained what I was supposed to do. It was a movement, so I was supposed to follow you. And so I shot it and showed it to you. I remember you looked at it and your face changed. And I was like, "Okay, something is wrong." You paused before answering, and then you said:

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<v Mrs Marciano>Great. Good job. The movement was smooth. Great. Thank you for that. I appreciate it.

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<v Mrs Marciano>However, can I just ask a little question?

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<v Mrs Marciano>Why am I out of the frame?

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<v Mrs Marciano>Yeah.

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<v Mr Marciano>Yeah. But we need to say it's been seven years practically. And since then, we've

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<v Mr Marciano>completely aligned our communication. It was a process for us to find a balance, and I've learned to provide more context to you.

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<v Mrs Marciano>Yeah.

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<v Mr Marciano>And to find a way to communicate straightforwardly and quickly, as is needed on the set. It's a different kind of situation, but also to give you more context.

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<v Mr Marciano>And not be just strict entirely. Like, think about you as a human who needs some kind of information.

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<v Mrs Marciano>Yeah. And another point is that I was also asking a lot like when I was not just. I

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<v Mrs Marciano>I was not just waiting for instructions anymore. I was asking because I wanted to understand everything. So I was asking you about everything. And sometimes there was a situation where you were trying to technically manage something with the camera, and I was talking to you—like with the light. I was asking, "Why is it turned this way now?" And you were like, "Not now." I was like, "Okay." So I had to learn how to hold a thought in my head for five seconds. And

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<v Mrs Marciano>and yeah.

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<v Mr Marciano>But

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<v Mr Marciano>You've learned so much. I was learning as well.

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<v Mrs Marciano>Yeah.

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<v Mr Marciano>Back then. And still learning and will be. That's me.

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<v Mr Marciano>But you've learned so much along the way that

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<v Mr Marciano>at the beginning, you practically had no role. Afterwards, for a short period of time, you were some kind of an assistant,

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<v Mr Marciano>and we ended up with

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<v Mr Marciano>pretty clear roles for both of us—separate roles.

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<v Mrs Marciano>Yeah.

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<v Mr Marciano>Like naturally.

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<v Mrs Marciano>Yeah, now we each have a field. I think it was also really great that it was a natural process. I was trying everything, and as I was trying things, I found some things interesting that you were just doing because, you know, someone needed to do them, right?

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<v Mrs Marciano>So over time, I was taking responsibility for something that I just enjoyed. And the more I was doing it, there was no need to ask you anything about it. And then you didn't need to

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<v Mrs Marciano>Make sure that everything is like.

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<v Mrs Marciano>We also got to the point that we trust each other. I trust you in the process, but now you trust me—you don't need to worry about my field now.

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<v Mr Marciano>I need to say that I really appreciate.

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<v Mr Marciano>how much you've learned and how you went through

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<v Mr Marciano>all aspects of filmmaking.

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<v Mr Marciano>And now, if we work with a bigger crew, we can delegate more and more. You have people who know what they're doing, and I think that's beneficial.

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<v Mrs Marciano>Yeah, yeah.

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<v Mr Marciano>It's great. And and you at the beginning,

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<v Mr Marciano>you were saying about yourself that you're not a technical person at all.

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<v Mr Marciano>You haven't even noticed that you became a super technical person later, speaking of your sound engineering and even color grading

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<v Mr Marciano>and other disciplines. That's super technical. And you have knowledge that I don't have today.

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<v Mrs Marciano>Yeah,

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<v Mr Marciano>like, way further in that area.

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<v Mr Marciano>Speaking of the sound.

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<v Mr Marciano>You know so much that I don't.

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<v Mrs Marciano>And as you mentioned—or as we talk about trusting each other—

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<v Mrs Marciano>there were moments where you trusted me more than I trusted myself with what I was doing.

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<v Mrs Marciano>I did. I mean, now

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<v Mrs Marciano>there was a scene where I was supposed to hold the camera. We had just one take because

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<v Mrs Marciano>there was a

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<v Mrs Marciano>there was a tear-off calendar. You have the pages.

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<v Mr Marciano>For 30.

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<v Mrs Marciano>Yeah, the film 30.

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<v Mr Marciano>The very final scene.

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<v Mrs Marciano>Yes.

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<v Mrs Marciano>So I was supposed to hold the camera and move it on a slider and.

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<v Mrs Marciano>And I remember I was like, "I don't want to do it. I'm going to mess up. I don't want to do it." And you were like, "You will do it. You can do it, and you will do it." And yeah, I did make it.

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<v Mr Marciano>It was a perfectly smooth shot.

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<v Mrs Marciano>Yeah.

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<v Mr Marciano>It never made it into the film.

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<v Mrs Marciano>Yeah, we cut it off. That's also part of the filmmaking.

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<v Mr Marciano>I'm going to ask.

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<v Mr Marciano>It's been a long

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<v Mr Marciano>way.

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<v Mr Marciano>And plenty of years.

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<v Mr Marciano>Of growth, actually.

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<v Mr Marciano>What I need to ask.

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<v Mr Marciano>Is there anything that I should improve?

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<v Mr Marciano>Like, about me during filming—anything on top of your mind?

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<v Mrs Marciano>Yeah, I think that.

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<v Mrs Marciano>You should be able to ask for help earlier.

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<v Mrs Marciano>Sometimes I have to notice that

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<v Mr Marciano>I'm struggling with something.

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<v Mrs Marciano>I wouldn't say struggling, but maybe my hand would be helpful.

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<v Mr Marciano>Yeah, a stand in one hand, camera in another. And yeah,

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<v Mr Marciano>that's me.

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<v Mrs Marciano>Yeah. But it's not just with filming. I think overall you're the kind of guy who wants to manage everything by himself. So

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<v Mr Marciano>Not everything. I love to delegate.

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<v Mrs Marciano>Yeah.

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<v Mr Marciano>But sometimes

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<v Mr Marciano>we need more crew, and we will have it. That's what we're building at this moment.

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<v Mr Marciano>We couldn't have the crew for years because we were moving from country to country, overseas, from Canada to America.

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<v Mrs Marciano>We never settled down.

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<v Mr Marciano>Yeah, four years. So now the difference is rebuilding something. And my goal is to have just one role, in the best scenario.

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<v Mrs Marciano>Yeah.

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<v Mrs Marciano>What about me? What should I improve?

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<v Mr Marciano>I have something.

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<v Mrs Marciano>OK, go ahead. What is it?

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<v Mr Marciano>Sometimes.

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<v Mr Marciano>There are plans on a set.

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<v Mr Marciano>And they're changing quickly.

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<v Mrs Marciano>Yeah.

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<v Mr Marciano>Yeah, do I need to say more?

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<v Mrs Marciano>No. Well, I think it's similar in personal life and at work: I like to have things in order, and I like to have plans. So if there are some shots for today and other shots for tomorrow, planned, and then something changes—whatever, the weather can change—or

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<v Mrs Marciano>we need to change the plans. So we're changing not just today, but also tomorrow and the day after. Sometimes I'm a little bit sad that I have to change my beautiful plans.

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<v Mr Marciano>So make a little funeral for them. Your plan died at that moment. Take your grief.

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<v Mrs Marciano>Yeah, a little funeral for my plans.

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<v Mrs Marciano>Yeah, but I had to learn that the job isn't about following or protecting the schedule. The job is about making the film happen, right?

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<v Mr Marciano>And I have maybe the very last question for today.

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<v Mr Marciano>If you knew what your very first music video

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<v Mr Marciano>would bring into your life,

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<v Mr Marciano>would you decide differently—like hire a company, or...?

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<v Mrs Marciano>No, no.

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<v Mrs Marciano>I mean,

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<v Mrs Marciano>Yes, sometimes it's hard and exhausting, like everything. But it's amazing to have an idea, or just have the scene written on paper, maybe. And

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<v Mrs Marciano>and at the end of the day, when we look,

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<v Mrs Marciano>we created something that didn't exist in the morning. It's just... it's something.

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<v Mrs Marciano>Something fascinating. And we're creating together. I mean, I love it. And now,

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<v Mrs Marciano>in terms of sound, it's my field now. So all the sound during production and post-production is my field. It's a lot of fun and creativity.

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<v Mrs Marciano>And even beyond that, when we talk about the script and the characters, we're discussing it, and

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<v Mrs Marciano>even during the day when we're not working, when we're doing something or walking outside, we just talk and I'm like, "Oh yeah, I was just thinking about the character." It's so interesting.

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<v Mrs Marciano>Yeah.

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<v Mrs Marciano>Film is a very complex art.

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<v Mrs Marciano>art.

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<v Mrs Marciano>And

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<v Mrs Marciano>I never thought I was going to do these things.

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<v Mrs Marciano>I don't know. I never imagined myself doing all those things.

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<v Mrs Marciano>Yeah,

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<v Mrs Marciano>it's

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<v Mrs Marciano>it's great.

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<v Mr Marciano>Indeed.

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<v Mrs Marciano>Well, that was interesting.

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<v Mrs Marciano>Thank you for today's talk.

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<v Mrs Marciano>Do you have a question?

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<v Mr Marciano>I do.

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<v Mr Marciano>I do have a question for all of you.

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<v Mr Marciano>When you work with somebody who you know really well,

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<v Mr Marciano>do you communicate more, giving more context to the person?

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<v Mr Marciano>Or

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<v Mr Marciano>do you start assuming

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<v Mr Marciano>that the person already knows what you mean?

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<v Mrs Marciano>Thank you for listening. Have a beautiful day.

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<v Mr Marciano>Take care.