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- [Ercole's Translator] I'll just sketch a few things.
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Yeah, let's see.
I'll do something like this.
I don't know whether it looks good or bad.
I'm just improvising.
Once more.
I'm sure there are two different forms of life.
The canonical one.
We are born with numbers and
our life runs along these numbers.
We even forget our individual names.
Then there's another with its own impetus.
The unconscious.
It takes decisions and remembers things.
It surfaces at the right moment.
In fact, my philosophy is:
when you lose something meaningful,
don't go looking for it.
Sooner or later, it will come looking for you.
It always happens that way.
Always.
(car starts)
(upbeat music)
Both a beautiful woman and a beautiful car
make you want to seduce, feel free,
reach your goal.
Either to seduce a beautiful woman
or in the case of a car,
to reach a certain distant goal,
maybe in order to seduce a beautiful woman.
(upbeat music)
(engine revs)
- [Marcello's Translator] I count myself lucky because
I lead my entire life pursuing my passion,
starting at the age of four when
I was given an erector set.
I went through a theoretical phase at first.
A phase of many drawings and few, if any, creations.
When I started working on car bodies,
things changed a little.
Especially when I had the chance to participate
in the planning of automobiles.
Real and important ones, like this one.
(ethereal music)
- You know, designing a car is not just the idea.
It's not bring an idea, two tailfins or whatever.
It's how you interpret this idea.
And to interpret this idea,
you have to have a good sense of proportion.
That's essential.
I am a pure designer, so I like the aesthetics.
I'm not a good engineer. (laughs)
But everyone has their own specialty, we say.
- [Lorenzo's Translator] Design is considered to be
the utmost talent in our country.
We are seen as an intensely creative people.
With our creativity expressing itself
through furnishings, fashion,
and also through automobile design.
For a young man who wanted to
become part of the automobile world,
the 1960's were a paradise of creativity.
The era was extremely fertile because
year after year, auto show after auto show,
we always looked for new expressions,
more radical and extreme shapes.
(rock music)
- In 1958, Italy, and Torino in particular,
was the center of design the world over.
You had automobile design in Italy,
directors of all the big companies
came to Torino for the automobile show
to see the latest styling exercises.
- [Translator] I am a child of the 1960's,
raised on bread and automobiles.
The cars back then were more and more concept cars
and less and less automobiles.
Cars like the Carabo and Modulo
seemed more like spaceships than functioning automobiles.
In those days it was a dream come true.
- [Second Translator] The post-war period
began with the Vespa and continued with the V8600,
the Fiat 500, and so on.
- [Marcello's Translator] Innovations became
an important factor in the automobile industry in general
and with regards to the car bodies in particular.
You could create things that
turned out to be very successful.
(engine revs)
(upbeat music)
(horn honks)
I had a storehouse of desires
and little by little, I filled the pigeon holes.
And the Miura was the opportunity to pull out some of them.
In those days, no one would think
of making headlights for a showroom prototype
or limited production.
So they used whatever was around.
For example, the headlights for the 850 Spider,
they did the same with the taillight.
But it was a shame to see a car like that realized
with headlights taken from a Fiat.
So my idea was to try to mask them with these flaps.
Originally, they were used for the interior ventilation,
but they really served no purpose at all.
(upbeat music)
- [Filippo's Translator] The day I was hired
was the happiest day of my life.
It was like stepping into a magical world,
being part of this special community.
Back then we were called stylists.
We built cars in an era of optimism,
never worrying about automobile safety.
We believed that someday in the future,
cars would be able to spread their wings
and just take off.
- [Giancarlo's Translator] With ingenuity, first of all,
imagination and ingenuity.
We even made cars without any drafts.
It was all in our imagination.
I'm no designer.
Mr. Gandini is a stylist.
I'm a metalworker, but still I made cars.
When I was making Ferraris,
they had to be gutsy but also beautiful.
I liked making them.
(light music)
- [Aldo's Translator] It was a fabulous period
because automobiles were starting to be considered
pieces of art.
Like an object that needs shaping
and not something technical, solely mechanical.
So they began thinking about sprucing up the automobiles.
You could indulge in your own ingenuity.
That's why during that period,
cars came out which are considered milestones
in automotive history, even today.
(jazzy music)
- [Leonardo's Translator] Style is a way of feeling.
If you have ingenuity and the talent
to shape your own ideas, that's imagination I think.
If you're lucky enough to have both
ingenuity and imagination, I think that's called creativity.
Passion came from driving.
I started driving at 12.
Shortly afterwards I began spending time
at the Monza Racetrack in the car of friends
who already owned a license.
Back in those days, I was more interested in
driving than designing.
I even began racing cars before I had a license.
I'd go to Monza with friends,
we'd rent the track which didn't cost much back then.
One or two of us had a license
but the others drove without one.
It was a closed circuit, so it wasn't dangerous.
- [Giancarlo's Translator] At the beginning of
the last century, when the automobile saw the light of day,
Turin was a very beautiful, elegant city.
The filmmaking industry and the great fashion houses
were in Turin, all in the wake
of the once-present Royal House.
Carriage production was important
and it was done here because the clientele was here.
- [Filippo's Translator] History says it's origins come
from the valleys around Turin,
where there are boilermakers who work with copper.
That's where the expertise of shaping sheet metal came from.
- [Giancarlo's Translator] Automobiles were made with
a frame just like carriages.
And engines substituted the horses
and on top of it, they built a car body.
A craft is born, it spreads.
Some go to work for a company to learn the craft
and afterwards found their own companies.
The same goes for the automotive industry,
for the people that built the engines,
the frames, the car bodies,
- [Translator] In the beginning, there was a high level
of manufacturing specialization.
It allowed for the making of functioning prototypes,
from the 1920's to the post-war 1950's.
And a wealthy clientele that
could afford these unique models.
- You know, there are many people involved
in the carriage design before the war.
And I think it was just a natural ability.
They could design what they called panel beaters.
They could make cars by hand.
In no other place in the world could you do this.
- [Giancarlo's Translator] There's a culture,
a craftsmanship which was once handed down
from father to son and now from one colleague to another.
Forging the metal for wheels was the craft of
the Bertone founder, Nuccio Bertone's father.
That was his specialty.
Naturally, the most capable craftsman
were the most sought-after and
if they had a natural sense of business,
they'd create their own workshop.
- [Lorenzo's Translator] The successful auto body workers
from an industrial point of view
were those who managed the transition from
being craftsmen, working on a single piece,
to becoming businessmen.
In the 1950's, they produced thousands of units.
I'm thinking especially of Pininfarina and Bertone.
- [Giancarlo's Translator] It's a bit like
the Silicon Valley.
A famous designer, Fioravanti,
once called it the Car Valley because
building an automobile became an industry here.
(funky music)
- [Lorenzo's Translator] In the post-war period,
Italian auto body workers, partly because of
their great creative abilities and partly because
they had worked very hard
to recreate the pre-war conditions,
were the first to understand
that standards had totally changed.
The emerging mass automotive industry in Europe
greatly relied upon Italian designers
to design the cars for mass production.
Let's take Pininfarina, who worked for Peuegot
and Austin Morris, or Michelotti,
who worked for Triumph.
Michelotti made the first BMW 1500,
the blueprint for all others.
Bertone worked for NSU Prints and also for BMW.
All Italian auto body workers
worked with foreign manufacturers
and built a network of knowledge and competence.
That allowed them to expand their activity
as auto body workers to becoming design consultants.
This enabled them to establish design offices
in order to create trends and to influence
the European automotive industry.
(funky music)
- After the war, some cars were designed in Italy
that are sold for phenomenal prices today.
People cannot design, they never
designed with a pencil or paper.
They did it by hand, by instinct.
- [Filippo's Translator] These people had
gained their experiences
before the era of the stylists.
Pininfarina, Bertone, and others
were able to create models completely
without the help of any kind of draft or sketch.
- [Giancarlo's Translator] It's a matter
of innate creativity.
In those days, we saw how people without
any formal education became great masters.
One example is Giancarlo Guerra,
who out of nothing gave form to
fantastic automobiles for Ferrari.
He would simply envisage them.
We've known people like Gandini.
If Giugiaro was the Michelangelo of Italian design,
he'd be the Leonardo da Vinci because
he was more interested in the technique,
the engineering side of it.
- [Giancarlo's Translator] I only finished
elementary school.
I had a special feel for things
and I instructed the engineers.
They were under my wings.
- [Marcello's Translator] I spent many years
in secondary school but later on,
I designed on my own.
I loved racing cars so I drew them all the time.
I was interested in the shape,
but especially the basic concepts and the mechanics,
even if I didn't know much at the time.
- [Giancarlo's Translator] They'd give me a mono-block,
a shell, four old wheels.
I'd position the static load and then I'd place a cord.
I didn't need anything else.
I'd only use a calibrated cord, that was it.
And from that I'd create the whole shape.
I drew sketches at home.
I used wooden blocks to indicate the
encumberence of the carburetors.
That's how we made cars.
- [Paolo's Translator] I've always liked to build things.
As a child, I'd build small objects and toys,
trying to imitate or reinvent what was around me.
I was lucky to meet a great master in the 1960's.
It was Giovanni Michelotti
who taught me how to draw.
I knew how to sketch, but I didn't know what to sketch.
Michelotti taught me to transfer my dreams into automobiles.
I don't follow archetypes, I don't read magazines.
I don't go to showrooms.
I like to invent.
I think this was my--
not luck, but my way of living.
(jazzy music)
The Fiat 130 came into being with the Rolls.
The Rolls Camargue.
The only car in the entire history of that brand
which was designed by an Italian.
The English one is something Italian,
and the straight lines,
so different from the traditional roles,
influence the Fiat 130.
The configuration was very similar.
In fact, some called it the younger sister.
The similarity is obvious.
I'm the first to say so.
- [Ercole's Translator] My adventure began at preschool age,
because I always drew automobiles
and liked copying them from magazines too,
whenever I had one at hand.
In my parent's house there was this magazine lying around,
the Reale Automobile Club of Italy.
A rather large magazine in black and white
telling you everything about the world of automobiles.
These things fascinated me.
The ads which promoted the cars,
as well as the reports on the races.
The Grand Prix of those days,
the battles between Alfa Romeo and the Germans.
The Mercedes and the Auto Union.
I even took an interest in
the ads for automobile components.
(rock music)
- [Leonardo's Translator] At 12, I would steal
my father's car keys, these longish straight things
used for the Fiat 1100
and the Fiat 500, the Topolino.
I'd drive around while he was asleep.
When he finally started teaching me how to drive,
he said, you're a very good driver.
- [Marcello's Translator] In 1955, '56,
I was designing cars where you had to lie
so flat on your back that you
looked at the road from between your feet.
I'd lie on the bed to see how you could drive,
looking out from between your feet.
- [Aldo's Translator] I liked driving.
In fact, even as a young man I owned sports cars.
Obviously not the ones I had designed,
but still I always liked them.
- [Leonardo's Translator] We'd have contests of carspotting,
of recognizing cars not by their shapes,
but by a picture of their taillights.
We'd identify them by their screws.
- [Translator] I'd hang out in the garages
to get to know the materials the components were made of.
- [Marcello's Translator] Back then,
uphill races were very popular.
- [Translator] Both racing cars and
tuned ordinary cars participated.
The suspension system in the engine
had been manipulated a little bit.
But they were actually slower than the standard ones.
- [Leonardo's Translator] We kids would borrow
our parent's cars, making up some kind of excuse.
- [Ercole's Translator] This is a luxury car,
American style.
I set my drawings in front of a mansion.
This is the main gate.
Here's a super sports car in the lineup to the Mille Miglia.
An uphill race.
A convertible on a scenic route, close to the water.
A racing car positioned at a pit stop.
Even a small truck.
I like to invent promotional vehicles like these.
For example, this was for Coca-Cola, or this one.
I liked to invent things like that.
(upbeat music)
- [Aldo's Translator] The Dino is a very important call.
It was Sergio Pininfarina's idea.
I designed my version of it and they chose it.
This is it.
This car had a rear engine.
That's why the front is lower than usual.
Its bumpers protruded.
It's an outstanding car.
When Ferrari accepted the design
and started the production, it turned out to be
the car with the highest sales volume ever.
- [Leonardo's Translator] The vehicles of
other car designers of the time were more catchy.
The ones Pininfarina designed were considered well,
to be interesting.
A few years later the others had disappeared
and Pininfarina's became more and more beautiful
as time passed.
- [Aldo's Translator] All the Pininfarina vehicles
are austere, except for a few.
A unique example is the Modulo.
- [Paolo's Translator] The Pininfarina management
didn't want to produce the Modulo.
In fact, they hid it under a tarp for six months.
One day Pininfarina asked me,
how on earth could you make a--
he didn't even want to call it a car.
A thing like that?
And I said, sir, it wasn't supposed to be an automobile,
it's as simple as that.
- [Giancarlo's Translator] The basis of the Italian design
was this: ability to be creative, to have that
special feel for the shapes,
even without being a trained designer or a stylist.
- [Aldo's Translator] Pininfarina himself didn't design,
but he had good taste.
He knew how to select.
He'd correct and optimize the ideas
that our imagination had created.
- He had a very good eye for design.
He didn't design the cars himself,
but he had a good eye to see what was good, what was bad.
And so, that's very important.
- [Giancarlo's Translator] He knew how to read a design
and recognize tiny variations.
He'd ask one of his panel-beaters to modify a line,
making it tighter or softer.
The next day when this had been done,
he could immediately tell the difference
and if it hadn't been done exactly as he'd wanted it,
he'd say, you didn't do what I asked you to do
and make him modify it.
- The way we did it, at Pininfarina,
of course we had to make a full-size drawing of the car.
And what they call full-size lofting,
a lofting drawing which is used to make the model,
a full-size model.
So it takes from two to three weeks to make the drawing,
with all the sessions, then you have to make the model
which takes maybe a month and a half to do that,
then from there you make any modifications you have to make,
then you make the prototype using the model,
not to hammer the metal over it but as a guide.
- [Paolo's Translator] I make them because
I love the three dimensions they have.
Objects have three dimensions.
If not, they'd simply be drawings.
So I think three dimensionally.
In fact, I call my models three dimensional sketches.
- [Marcello's Translator] To design something
without any clear goal
is something I've never accepted.
I preferred imagining the final phase,
what it should turn out to be and why and for whom.
- [Ercole's Translator] Elio Zagato was an excellent driver
and was still racing.
Naturally, he wanted his cars to win
so they were made to measure.
I'd follow the trials to find out what he needed
to be able to drive faster.
That's how I learned.
A hands-on experience taught me
to design them for their natural purpose,
which was to win races.
(rock music)
- [Giancarlo's Translator] The change from what was called
being a stylist to being a designer
occurred when additional technical elements were introduced.
They started introducing functional elements,
ergonomics, visibility.
- [Ercole's Translator] The systems were very practical.
I looked at the sketches of those
who had achieved the best aerodynamic results.
I looked at what the Germans had done before the war.
In the 1930's, there were theories by professors
from the University of Stuttgart.
Professor Koenig-Fachsenfeld and Professor Wunibald Kamm.
He invented the Kamm-tail.
I used it on our cars directly on the road.
I screwed on some aluminum fairing
and judged the performance with or without fairing.
We saw that it worked and we stuck to it.
This is a Kamm-tail.
I've always remained fascinated by it.
- There was only one other designer when I came.
There were just two designers there.
It was not like going to General Motors
where you had 200 designers in one place.
It was a very small company.
Each designer had their own particular project to do.
So here I was, 24 years old
and all of a sudden I was designing a complete car.
- [Ercole's Translator] The Aston Martin
was the first car I designed.
I arrived in April 1960 and two cars
had to be done right away.
John Wyer came personally.
He wanted to make a lighter version
to enter the competitions, trying to beat the Ferraris.
The car turned out well.
He liked it very much.
It became one of the most expensive cars in the auctions.
But it was a bit too heavy
to compete with the Ferrari.
- [Aldo's Translator] The Dino's profile
looked something like this.
The shape of the wings looked like that.
If we invert them, you roughly get the layout
of the Cisitalia.
The front wing became the rear wing.
So one looks like this and the other like this.
The front and the rear were inverted.
- [Giancarlo's Translator] That kind of
creative concentration can't have happened out of the blue.
In Turin, a spontaneous design school had developed,
which wasn't based on institutions.
The great designers learned their craft in the garages
like Spada, even Gandini.
Even if he always thought he didn't know enough
because he hadn't been to a school
where they taught how to make automobiles,
but he knew how to form an opinion, an idea.
- [Filippo's Translator] Since there were no design schools,
you just went to work.
I began at 20, right after high school.
- [Marcello's Translator] I still remember how I,
in my freshman year, bought Dante Giacosa's
Internal Combustion Engines instead of buying a Latin book.
I still have it.
It's well-worn and never again looked at,
but back then I knew it by heart.
- [Leonardo's Translator] My father played the violin
and made us learn a musical instrument.
That's how it was done back then.
My brother and I had to learn to play the piano.
I still remember Schumann's Scenes From Childhood.
It interested me.
I thought of the three piano pedals
as clutch, brake, and accelerator.
- [Aldo's Translator] I've never driven a Ferrari.
I rode in a Dino, driven by Fioravanti.
But I've never driven a Ferrari.
I designed them, that satisfied me.
- [Paolo's Translator] I have a diploma
in technical engineering.
I have no idea where it is now.
I decided that studying was not for me.
It took me too long to learn too little.
I went there on a different path.
I chose my teachers myself.
- We didn't have a briefing.
We didn't have a thick book of
all the requirements that
we had to do for our car.
Back then, they wanted new ideas.
They were still in the phase that,
something had some new ideas they wanted.
They didn't want somebody taking ideas from
a car that had success and copy that car.
Everything had to be new.
- [Leonardo's Translator] I learned that Pininfarina,
the best way to avoid getting fired was to be original.
If you designed something already familiar,
you deserved to be given the sack.
- [Marcello's Translator] Back then it was normal
to do things differently than they'd been done before
or by others.
At Bertone, it was especially so.
Both with regards to the showrooms
and to the normal work on prototypes or models.
(rock music)
- The Pantera was produced for almost 22 years.
It probably wouldn't really win
a Concours d'Elegance for the most elegant car,
but it has something about the car
that satisfies a lot of passion.
Where sports cars were elegant cars,
nice-looking cars, and still today
people buy these cars, they work on them,
they take them apart, they fix them.
They have very big clubs in America.
- [Ercole's Translator] The Aston Martin DB4
looks like the mouth of a shark,
ready to attack the road.
I designed the shape.
It was a tight-fitting suit worn over strong muscles.
The car body just about holds everything together.
- [Marcello's Translator] The basic concept of this car
was to make the driver more attractive,
to reflect a little of its power,
aggressiveness onto its driver.
(rock music)
There were a few essential flaws.
The one thing, it was impossible
to look behind you when driving in reverse.
But it was possible to compensate for that
with a bit of physical effort and some exhibitionism,
by sitting on the lateral strut,
looking out from the side with the door open.
We knew a collector who lived close by,
who passed through the town square
to show off how he drove in reverse,
going back and forth.
At the Turin auto show in 1970,
the Bertone company presented a prototype
with Lancia Mechanics, but totally
transformed with the rear engine.
It was an interesting prototype, famous even today,
but most importantly it convinced the Lancia
executive management to build a specific car
for the rallies, the races.
Lancia was especially interested in
the six-cylinder Dino Ferrari engine,
a very heavy engine with little horsepower.
The vehicle made a visual impact right away.
Besides, a winning car becomes beautiful
even if it's ugly.
If it's born beautiful, that's good too.
At least that's my opinion.
- [Paolo's Translator] Tjaarda and Bertone,
who at the time cooperated,
were lucky to have Cingolani, the foreman,
working for both of them.
Cingolani resolved all the mechanical
or technical problems on their prototype.
He was for them what Komodo and Mora
were for Pininfarina.
Not to forget all the other people working in blue overalls
who receive little merit but had great skill.
They made these companies fortunes.
- [Giancarlo's Translator] It was a miracle no one else
in the world could have done.
Naturally, Gandini didn't do it all on his own.
He had panel-beaters who did things right the first time.
- [Marcello's Translator] The atmosphere
during the construction of these three prototypes
for the auto show in Geneva
in 1966 wasn't particularly light,
which is to say that the work was grueling.
They hired many external workers
and the division worked 22 hours a day
in two 11 hour shifts.
We worked very fast.
There was no time to meditate,
no tending to details.
Today we brood over the reasons for this and that.
Back then things got resolved in three minutes.
There were no philosophical debates, heavens no.
- [Giancarlo's Translator] It was a miracle no one else
in the world could have done.
Naturally, Gandini didn't do it all on his own.
He had panel-beaters who did things right the first time.
(jazzy music)
- [Giancarlo's Translator] It's hard to explain.
I just did it the way I'd imagined it.
Looking at the results, I did a good job.
- [Marcello's Translator] I stuck to the design
and tried to learn how to do the rest,
watching the workers whenever I had the chance.
Something I always did back then.
I mostly learned from my coworkers.
- [Giancarlo's Translator] Do this part here.
Round it, soften it.
But what does rounding or softening mean?
If I say to you, round it, soften it,
and you know what I mean, the game's easy.
But if you're not on the same wavelength
and you don't share a vision of things,
it becomes tough and the result may be terrible.
- [Ercole's Translator] That was just a sketch.
But I'll use it to explain the
different phases of my drafts.
It was constructed using iron rebars,
like the ones you see here.
It looks like a kind of wire frame.
With that, the panel-beater is able to form
the aluminum parts later on.
- [Giancarlo's Translator] Some use one tool, some another.
Giancarlo Guerra used an iron rebar,
a hammer, and sheet metal.
He just followed his imagination
to form masterpieces.
- [Giancarlo's Translator] I believe I was the only one
to make cars with wires like that.
We thought about everything.
We thought about encumbrances, about the driver's seat.
I made cars.
I'd leave an opening to implement the wire.
It looked like a transparent car.
- [Leonardo's Translator] Working together with
a small group of enthusiastic people
who were extraordinary men
with great creative talent was fantastic.
We'd joke, argue.
Your design is horrendous crap.
Mine's more beautiful.
But there were no strange moves.
- [Paolo's Translator] There was no competition.
Everyone had a job to do.
There was absolutely no interference among us.
Broverone cars were Broverone's.
Sapino ones were Sapino's.
Mine were mine.
There was no competition.
- [Filippo's Translator] It was an unwritten law
that the public would not be informed about
who was responsible for which car.
Back then, nobody knew that I had designed
the Ferrari 512, or Matin, the Modulo.
Things changed later when everything was
handled a bit more liberal.
At the time there was a rather tight regime of secrecy.
It was always the master who did the designing.
Pininfarina, Bertone.
Their name was the one which appeared.
- [Translator] It meant trouble if the stylist
working for Bertone or Pininfarina said,
I designed that car.
Or if he signed a sketch with his own name
and not the name of the company.
Once, Scallione dared to sign a sketch
and sent it to America.
Bertone fired him on the spot.
I'm the Bertone company, the rest is nothing.
- [Filippo's Translator] To be honest, we always found a way
to make our sketches known.
For example, by putting tiny initials into a corner.
Even if it was forbidden.
- [Marcello's Translator] It was a habit of mine.
The first time, it happened spontaneously
and then I repeated it.
- [Paolo's Translator] We enjoyed a lot of freedom.
Today things have changed.
When I visit a design office,
I see many sad faces.
They're all gloomy.
No one jokes, no one laughs.
I think an era has gone by.
I believe we've reached a point of no return.
Cars are turning into a mere means of transportation.
They are supposed to function
like a washing machine or a refrigerator.
- [Lorenzo's Translator] Today, the way a product
is presented is fundamental.
The presentation is part of the brand communication.
According to market researchers,
it's the first or second reason
for choosing one vehicle over another.
The automobile company has to focus on
the presentation of their products,
therefore the design of the car,
the design offices, the true creative development work,
has become an integral part and the core competence
of an automobile company.
What used to be an external service
is nowadays done within the company itself.
Therefore, the companies themselves have become
the greatest competitors of the Italian designers.
When your customer becomes your main competitor,
the competition becomes rather imbalanced.
- [Paolo's Translator] I believe a new
kind of designer has been born.
I like to call him a brand designer.
Today, the marketing department decides
which product is going to be sold.
They say, I want light here,
the coffeemaker there, the USB there,
and they determine what's being done.
The poor guy working on the design
is just drawing lines without knowing
what he's actually doing.
In fact, today's products all look alike.
They've lost their souls.
I call them auto planses.
- [Translator] If we think of today's cars
after having experienced and heard these stories,
everything is so degraded and becomes so--
plastic comes to mind immediately.
In today's cars, electronics aside,
everything is so cold, so unworldy.
- Today it is very difficult to make something new.
Because there's a mentality,
even with a car like a Pantera.
I've worked with people in San Diego.
We had a client that wanted a car
that was similar to a sports car
that was already on the market.
Back then that never happened.
I was never given an assignment
with Ghia, De Tomaso, or Pininfarina
that makes something similar to a car that already exists.
They wanted something new.
- [Translator] Martinengo always used to come and say,
Martin, do whatever you like.
This was the only input.
All the cars you see behind you
were invented with no input requirement.
"Do what you want."
That's all.
It was so nice to be able to do
what you wanted to do.
(upbeat music)
(bright tones)