Aldo Gigli · Mirano Continental联合创始人·布景设计师兼平面设计师
技艺的传承，以及共同的电影之爱
卡尔・德・蒙沙尔林一到米拉诺，阿尔多・吉利就指导他：俱乐部的内部组织、管理分工、每个人的性情。这些交流在俱乐部旁边的小吃店里，伴着无数杯咖啡进行。那里没有课程，也没有方法，只有一位年长者花时间讲解，从不让人觉得年龄或地位有差别。这是一种不留书面痕迹却延续一生的传承：如何遵守截止日期、如何在团队面前捍卫一个想法、如何在说话之前先理解对方。
两人还共同热爱电影。卡尔偏爱作者电影，阿尔多则是电影音乐的大收藏家。这种默契在布鲁塞尔电影节上得以具体化：他们一起设计了布景、宣传物料和受新浪潮启发的咖啡馆。阿尔多在米拉诺隔壁的办公室里制作这些项目的模型。在集团广告公司K comme Communication（KCC），卡尔是马可・罗兰的助理美术指导：正是在这种配置下，他们以团队形式共同致力于这份热情。
米拉诺本身也从未完全停止作为电影院。夜晚刚刚开始、尚未进入高潮时，那里仍会放映电影。旧电影院的座椅已经消失，取而代之的是简易金属椅；人们抽烟、评论、大笑，每场放映都变成一种集体仪式，热闹非凡。卡尔延续了米拉诺的这一最初功能：让电影进入夜晚，也让夜晚进入电影。
1981年，米拉诺以“气味电影”工艺放映了约翰・沃特斯的《聚酯》，由迪万主演：每位观众收到一张编号从一到十的卡片，在数字出现在银幕上的瞬间刮开，释放出场景的气味。很久以后，在卡尔自己任职米拉诺期间，他为“月亮公园”夜晚重拾了这一“刮刮闻闻”的创意。
卡尔的档案中保存着多张这些傍晚时分在米拉诺放映的电影传单。它们证明了一种节目编排：不仅仅是在舞池开放前填补场地，而是延续场所的身份——电影作为派对的前奏，派对作为电影的延续。
这间堆满墨水、马克笔、木板和唱片的办公室既是工作场所，也是交谈之所。人们在那里谈论电影、音乐和项目，然后带着一个变得可行的想法离开。卡尔后来签名的许多夜晚，都从那里、在两个模型之间说出的一句话开始。
Aldo Gigli也曾在巴黎工作，涉足电影、戏剧和广告领域，与Nana Mouskouri、Yves Simon、Catherine Lara、Alain Delon和Stéphanie de Monaco合作。一位从电影布景转到舞台、再从舞台转到舞池的布景设计师，建造的不是夜店的装饰，而是一个让观众走进去仿佛进入电影的场所。1998年，他离开比利时前往太阳海岸，继续设计私人住宅、餐厅和俱乐部，从未停止为他人描绘场所。
报告转录内容
Historian: This sign is absolutely incredible. It is a lighthouse in the night and it really is something to attract people from far away. And then, once you are close, you find yourself in what is called this funnel entrance. It says it well, you could almost call it a suction entrance, to draw in the passer-by.
Historian: Saint-Josse really was a little Hollywood, because there were not only screening rooms, many of them, as in many Brussels municipalities, but the film industry itself had settled there.
Historian: In the 1930s and the 1950s people had no television. It was their only chance to see images, newsreels, films. You were seated inside a very luxurious ensemble in which, as at the Mirano, everything was geared to the spectator's pleasure and to showing off the spectacle.
Historian: The transformation of the Mirano into a nightclub in 1981 is rather delightful, because there is a very short time between the closing of the cinema in 78 and the reopening. It keeps a place from falling into dereliction, into abandonment. And above all it is the resumption of a very coherent project, a project of conviviality where people come to meet and enjoy themselves. What better could you wish for a former cinema?
Bruno Bulté: For me, music is dance. I dance, that's it. I dance for hours and hours and hours. I dance, I express myself, I have a blast. I never took a class. I was a choreographer for Alain Chamfort, for instance, without any diploma, choreographer or whatever. I am a club dancer. And for me music is also an emotion. It is a drive that is utterly primal from the moment you are born.
Bruno Bulté: The heartbeat is the first percussion you feel. I don't even know whether you hear it, but you feel it. You wake up and...