Although the work of Elena Ferrante is known worldwide, her identity is a mystery. A few years ago, a journalist published an article claiming to know who was behind that name, but the writer does not have a confirmed public image, and Saverio Costanzo, in charge of adapting her saga Two Friends in the series My Brilliant Friend never heard her voice.

All contact between the screenwriter and the author has always been done in writing through her book editor. "If I had to change something in the script during filming, which happens many times, I had to send an email to her editor, the editor sends it to her, she responds and he forwards it to me," explains Costanzo.

Hundreds of emails. This was how the scripts for The Brilliant Friend, HBO series currently airing its fourth and final season, were written, and we can only say that the effort was worth it.

EL ESPAÑOL spoke with Costanzo, the person in charge of the adaptation, and Laura Bispuri, the director of this fourth installment, about the work process with Ferrante, the visual references, and what their favorite episode of the final season of The Brilliant Friend is.

Did Elena Ferrante remain the same 'ghost' until the end or did the work process change throughout the series?

Saverio Constanzo: Elena Ferrante remained the same ghost, but actually after six years it became something common. Over time, we trusted each other more, we knew each other better, so the process improved in a way, it was easier.  

I don't know how she feels, I can't speak for her, but after all these years, I feel like I know her and I really like her as a person. I love her perspective on things. Most of the time she was right about many things. I learned a lot from her and I feel very privileged to have spent so much time with her, so to speak.

In an interview, you said that the visual reference for the first season was neorealism, the Nouvelle Vague for the second, and New Hollywood for the third, what about the fourth?

Saverio Constanzo: In this one, it wasn't as easy, because in the eighties television arrived and the cinema was no longer a reference, so I told Laura Bispuri, our director: "Get rid of references". Because that's exactly what the cinema of the 80s and 90s was like.

The most crucial and fundamental movie of the 90s is Pulp Fiction, a film made up of all the references to other movies, so the reference for these decades is to be free. Mix and blend everything. Freedom is the key word.

Laura Bispuri: Yes. It was a privilege and also a challenge. But I tried to have a sincere approach to the material, and for me that meant using my style, which consists of long shots and making each one different from the previous one.

I don't like to do the same thing all the time, I want to find something during filming, let the actors and the atmosphere surprise me like in life and follow my instinct. But that's not something that can always be done, in most projects it's forbidden in a way. The way of working on The Brilliant Friend was a privilege, it's not common at all.

What is your favorite episode of this final season?

Saverio Constanzo: The fourth one, the earthquake one. It is one of the best episodes perhaps of the whole series because it is composed of only three major scenes and was a challenge for both me as a writer and the rest of the team. While writing it, I knew it was one that Laura would enjoy because it gives her the opportunity to explore the characters in depth and our actresses are magnificent.

Laura Bispuri: Yes, it's also my favorite. It starts with a long dialogue, a very revealing moment in the relationship between Lila and Elena and ends the next day with an apocalyptic atmosphere. I also have to say that I love the second one. I really don't know why. I don't know if I enjoyed filming it or if I love seeing it now. I would have to think a little more to find out, but I know that I really like it.

*This article has been automatically translated using artificial intelligence