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He started where he usually does; he leaned into his cinephilia.

The films that sprang to mind: Jean Renoir’s A Day in the Country, Bertolucci’s La Luna, Rohmer’s 80s films like The Green Ray and Pauline à la Plage (Call Me is set in 1982).

The book’s fans are diehard, and you don’t have to be gay, or Jewish, or to have summered in Italy, to remember the stomach-churning joys of first desire.

Guadagnino’s film had to hit that same balance of the personal and the universal. “For me to believe in something means to be completely invested in it,” he says.

“To be absolutely honest in my approach, for better and for worse.” It’s a necessary step for any project, but especially so when the subject is this achingly emotional.

“It was important to me to make this happen for James. He was used to tight shoots and compressed schedules, and that would be attractive to financiers.

It soon became undeniable: if this movie was going to go ahead, Luca Guadagnino would have to step up. We did it because we wanted to do it.” So what was it about this story that inspired such fevered devotion, and yet such hesitation to take the reins?

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Ramo Law PC provides comprehensive legal services to its clients in the entertainment industry with a specialized focus in representing financiers, producers, and production entities in film, television and digital content.