Stevens broke with his own rule and was extra offering not a two songs to the soundtrack to call me through his name. The first, “Mystery of Love”, is the backdrop of the budding romance between Elio and Armie Hammer d’Oliver of Timothee Chalamet. “Oh, see without my eyes / the first time you kissed me,” he sings. “It is endless when I cried / built your walls around me. “

“Visions of Gedeon” is reaching the end, while Elio is thinking about the pain of his trip. Guadagino holds the shot in the Chalamet, playing the credits while the young man sat down, pain. “I like you for the last time,” Stevens sings, at the end of the relationship.

Call me through your life of calls as a novel. Did you read it when Luca approached you?

I had not read it. He sent me to read before sending the script, and enjoyed it. When he sent the script, he had disorders with that because there was an off voice. Did he tell you?

He said he had problems with the internal monologue, because he is very number one for the novel.

GOOD. They had maintained the monologue of the former Elio, and first asked me to be the voice of the former Elio; To give a contribution this voice in off. He also asked me if I was looking to seem in the movie like a bard, playing the song, almost like a break in history. I returned to him and said: “I think that voice is a mistake, and I think the interruption of me making a song the song is a mistake. ” I think I was thinking out loud. I don’t know if I was attached to the idea. Then I said: “I’m going to write songs, but that’s all you love me. ” And he accepted. When I saw the first assembly, he said: “You were right, you don’t want a monologue or an interruption. “

The film also uses a remixed edition of one of your past songs: “Useless devices. ” It may have been written for this movie. Was your concept or Luca?

It is your concept. He fascinated the beginning with the concept of using this song. I think it’s just a coincidence that the nature and content of the device are so good in the film. It is a lucky accident.

I wrote two new songs for the movie, and when I wrote them, I hadn’t noticed any sequence, so I didn’t know how I was going to use them. I just gave them and I would know what to do. And, of course, after having noticed all his films, and how masterful it is with music, there were no questions in my brain that I was guilty of this subject.

In fact, Timothee really listened to “Visions of Gedeon” in a headset the filming of the best series in the film. With “Mystery of Love”, the two songs are the rigidity of this relationship. Was it through design?

Another satisfied accident. I have the impression that the universe is in a rate here, or perhaps testifies to Luca’s domain as director that he is so intelligent to lead other artists so that the maximum. I don’t know how he does it, but he is a genuine prophet in this way. I think he is an essentialist, but he is also technically intelligent. He has a very lively eye for the truth, and never consults his vision or authority. He is also a great scholar and a giant fellow, but you never have the impression that his wisdom bothers his work.

There are references to Oregon in “Mystery of Love”, since your album Carrie & Lowell was, which was written for your mother and her stepfather. Are those two new songs emerged from the same emotional area as Carrie & Lowell?

Without fail. In fact, when I spoke with Luca for the first time, I was on excursion to Carrie and Lowell. While drawing those songs, I was on this excursion and, therefore, they are connected to this world. He could not completely evoke the landscape of northern Italy, so he still worked in this type of landscape of the New World. It’s fun, because I felt like this type of American intruder, as this American graduate student [Oliver] becomes in history. Do you know how Elio calls Oliver the usurper? I have the impression that all Luca’s films have a type of foreign intruder in a landscape that is not his.

Has the references to Oregon been their sophisticated form of proceeding to its assignment of 50 states [Stevens one day he said he sought to record an album for the 50 states? Did you stop after two, Michigan and Illinois] or is he dead?

  Yes, I guess it’s now dead for me. My paintings are immersed in American geography, and I don’t think it never disappears, because I was born and appeared here. Oregon is express to Carrie & Lowell because this is where Carrie and Lowell lived during their wedding. We were raised through my father, and when Carrie married Lowell, it was then the maximum stable, and we could stop it. So we spend the summers there in the early 1980s, in Eugene, Or. Here is where references to Oregon come for this registration.

Carrie

Agreed. Carrie & Lowell’s writing procedure was devastating. And I didn’t offer me catharsis or solution or reconciliation for me.

Have you expected it to be?

I didn’t know. Previously, I used to use music as a balm, or as a means to understand safe conditions and safe relationships and experiences. And this time, he did nothing for me. The excursion itself and the exchange of music, assembling the screen with a network of musicians and taking it to those theaters and the public, all this was restorative for me. El personal se ha vuelto público, de una manera que me permitió renunciar al terror de la experiencia.

I think the curtain of this film also launched, and it may feel that I can pass beyond the devastation.

The tour, which remodeled in a concert film, was a delight of confrontation; He invited the audience to penetrate his pain and attach him to his own.

It is a genuine testimony of the strength and authority of music. And thank God, we have those donations to communicate, because in a different way we could not survive. This film, and how other people move, this perception of the universality of love and loss, speaks of the force of art. It is so vital, vital, now, that we live those things, and that we allow ourselves to be replaced and disputed and entertaining and connoisseurs through art. It turns out that so much life, society and civilization are simply corrupt.

We will not have to forget that we are complete of life, complete of beauty, and that we are artistic beings with much to share, and much to give ourselves. A giant component of the global intends to divide humanity. Categorize. Create factions. It is very frustrating, because we are all the same, you know; We all live, breathing in humans with deep feelings. We all have hearts, minds and souls. It is a shame that we cannot do more to consolidate each one and locate the fact and life in each one.

There are references to birds in “mystery of love” and their work. Why are they such a fertile source of inspiration for you?

Maybe they are a symbol of freedom; Absolute freedom Sometimes I feel so caught by gravity [laughs]. I have been obsessed with the sacred and the deep, and I think the birds are those divine creatures, because they can degenerate in the sky. In those physical bodies, trapped on the ground, I only have the impression that we will have to have the truth of the global and our mortality. For me, birds resemble symbols of absolute freedom and transcendence.

His music also indicates an endless curiosity; You cross genres and adopt other approaches, and the consistent is you. Why is it important?

I think I am fundamentally essentialist in the way I am so interested in the sensation, they delight me and notify me, and how those things can notice a new global sound and sight. This is how he starts the artistic reader in me. My music is quite formal and was founded on the classic bureaucracy of writing songs. The sounds themselves are based on this type of preference for the notice and anything new. I think it is vital to remain open to new things and continue curiously. I don’t know, I think I’m still interested in writing the best song and navigating to her. Instead of being disappointed not to do this, or feel disappointed through that, I keep going, firm, seeking to make it work.

Do you think the best song is there, then?

Yes, I am waiting for me to descend to me as an experience.