Bernardo Bertolucci is sitting in his armchair. Together with the director of photography Fabio Cianchetti and other members of the crew he is watching the digital proofs and he looks doubtful — perhaps it is better to go back to film. There are only a few days before filming begins on Io e te, and so film it is. Bernardo arrives on set in an electric wheelchair that allows him to move easily around the studio which has been transformed into a basement, where he will film for almost nine weeks. During the time spent on set we are glued to the director, watching his empathic way of communicating with the actors, of how emotional he is when looking at the monitor, and those long periods waiting in the dressing room alternated with frenzied activity that is all part of fi lmmaking.