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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.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.And, by his own admission, Guadagnino felt “comfortable” with this story.“Because maybe I knew the people that I was talking about,” he says.
“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.“I believed in this project and I didn’t want to see it go,” he says. Call Me by Your Name is a love story, in its most unadulterated form.Elio is the 17-year-old boy whose narration guides us in Aciman’s novel, as he meets Oliver, a 24-year-old graduate student come to stay for the summer at Elio’s father’s Italian villa.It was Spears who suggested perhaps his friend James Ivory should direct, with a script that Ivory and Guadagnino could work on together.Guadagnino couldn’t deny the pleasure of elevating his level of involvement with each new turn in the road, and working with Ivory on the script was a joy.
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