by Cristina Battocletti
Sofia Coppola also weighs in on the controversy over the Italian character of “Ferrari,” while the two master set designers Ferretti and Lo Schiavo talk about themselves
4′ reading
The role of Ferrari goes to an Italian actor, as Pierfrancesco Favino would want? Yes, of course, if the Italian actor manages to attract international audiences to the cinema and guarantee producers stick to their budgets. We have excellent actors in Italy, including Favino, so much so that he performs with elegance in all genres and transformations: his presence always guarantees a return to the box office in Italy, where the domestic audience recognizes him.
In the USA, cinema is not supported and producers take risks. A film with a budget of 90 million dollars, as in the case of Michael Mann’s “Ferrari”, needs faces on which the success of the film is based.
In Italy, cinema is partially supported. Nothing bad, actually commendable, God forbid. This is how new talents emerge (see Rohrwacher and Carpignano) that would otherwise be destroyed by the giants of the big majors and platforms. But it has to be said that very unforgettable films are also created.
The big international stars of Italy, from Loren to Mastroianni
We had many Italian international stars, from Sophia Loren to Claudia Cardinale to Lollo herself, who fled Hollywood when she felt restricted. And again Mastroianni, Magnani and Golino. Favino (and many others) could certainly make it in LA, but first we have to fly abroad, try our hand at the Hollywood star system and bring out the undoubted qualities of our actors.
The problem with “Ferrari” is not, among other things, Adam Driver, who is definitely always up to the role, but rather the film, which, starting with the dialogue, some of which is in English, is not entirely convincing. Italian words like “Lady” or “ commendatore” at the end of the sentence, which sound like ridiculous folklore to our ears.
Regardless of the budget, the author is on Sofia Coppola’s side: every director decides what he wants. Is anyone sorry that Francis Ford Coppola gave Marlon Brando the title role of The Godfather? Or the role of the Prince of Salina to Burt Lancaster for “The Leopard”? The only real difference is making good films or not.
The Road to Hollywood by Dante Ferretti and Francesca Lo Schiavo
Set designers Dante Ferretti and Francesca Lo Schiavo, who work in Hollywood and have won three Oscars, in 2005 for “The Aviator,” in 2008 for “Sweeney Todd: The Devilish Barber of Fleet Street” and in 2012 for “Hugo Cabret,” know this well. “. You have worked for many American masters, from Martin Scorsese to Tim Burton.
On the fifth day of the exhibition, a Lectio magistralis by Ferretti and Lo Schiavo took place on the same podium where Wes Anderson spoke. The topic was “The art and craft of cinema” and was addressed with a lot of understatement, which seems to be the leitmotif of these relaxed conversations full of anecdotes about how to make cinema.
Francesca Lo Schiavo spoke of the need for harmony with the director, “with his innate sensitivity.” We must have the humility to put ourselves at the service of his idea. We met great masters who will remain forever in the history of cinema. Starting with Liliana Cavani, who was my first customer. I came into contact with this artist who put so much energy into guiding the actors and building the films, and she was a great teacher for me. I always try to listen, gain experience and pay maximum attention when meeting with the director. A film is like a ship that lies anchored in the harbor and then sets off on its journey.”
Friendship with Federico Fellini and Martin Scorsese
Dante Ferretti then recalled his friendship with Federico Fellini, for whom he designed the sets for his last six films. “Federico lived in Rome on Via Margutta and I lived on Via Babbuino, a few steps away from him. In the morning we went to Cinecittà together: we met in the Canova bar. And he always said to me: “Hello Dantino, what did you dream last night?”, the first time I answered “Nothing”, the second day “I don’t remember” and the following days I said to myself: “Must be we.” “Invent something here” and I started talking about it when I was little. I was reminded of this when my mother asked me to go to the market to buy some meat and I was 7 years old and went to the “butcher” who put the “bowls” on the counter and then to the fishmonger , who held an eel in her hand which moved from. Fellini laughed and then used them as Mastroianni’s dreams in The City of Women.
Lo Schiavo also returned to her origins: “I thought about becoming an interior designer and wanted to combine that with cinema.” Dante invited me to go to the set of “Todo Modo”. And that’s when I realized it was what I wanted to do. After a year I started Liliana Cavani’s film: I was the art director’s furniture assistant. That’s where my attention and attention to detail was born, I was never passive, I went to antique dealers and proposed marriage. You should never feel prepared and arrived, but rather take more and more control over the work. When Federico Fellini was filming “La Nave va”, I was assistant to the decorator Massimo Tavazzi, I had to decorate all the cabins of the ship and I did my job well. I was always ready for anything. When the shipwreck started and there were no special effects. There was a huge wooden platform that had to be tilted and all the furniture fell down. It was a scene that could only be shot once. To make sure everything went well, I tied myself up and didn’t get off the platform. At the end of the credits, I had the pleasure of seeing my name associated with that of Massimo Tavazzi. It was Fellini, he promoted me. I went to him to thank him and he just said, “You worked as an interior designer, not an assistant. Closed”. And that made me realize that this was my path.
You have been nominated for an Oscar several times. “The others always won,” explains Ferretti. We didn’t want to go there anymore. Scorsese won us over in 2005. And then we heard her say: “The Oscar goes to Dante Ferretti and Francesca Lo Schiavo.” “Lo Sciavo,” corrects Francesca.
And the path of statuettes has not stopped and will not stop.
Cristina Battocletti
Head of Service
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