published on The New Country on 11 March 2011 the
Today, Friday, March 11 debut in theaters by director Matteo Cerami. scheduled in Surbiton for "The Space Movie" and "Planet Cinema" Nardò
The film tells the story of Maureen (Mark Giallini)
every morning accompanied by his father in his wheelchair at the beach kiosk
. Its business is ready to take off his
enabled once attendants, and Khaled Omar, hoisted atop the construction
the Italian flag. As customers arrive at the kiosk in Mauritius?
Interview with director Matteo Cerami /
The orange dawn expands in the immensity of blue sky on the Roman coast, this is not only the image of the first scene of the movie "All the Sea" by the young Matthew Cerami, but it is also the dawn of his directorial debut. A debut at the boundary between the real and magical atmosphere of times gone by, the film is punctuated by the great names of Italian cinema beginning with Gigi Proietti, Ninetto Davoli, Ennio Fantastichini, Sergio Fiorentino, Ambra Angiolini, Giallini Marco, Ilaria Occhini and Vincenzo Cerami which also has signed with his son, the screenplay for the film, the cast is also enriched by as many good players as Libero De Rienzo, Francesco Montanari, Claudia Zanella, Elena Radonicich. A bitter-sweet comedy that makes us reflect on the true meaning of both small gestures and has cameos on some of the songs that recall contemporary society. The kiosk on the beach of Castelporziano, managed by the owner Maurizio (Mark Giallini) is a micro world where they meet, rotate and alternate stories and characters, "chorus" representing Italy at the / multiethnic today.
At the press conference for the film director Matteo Cerami we met and exchanged "chat" with Gigi Proietti .
Opportunities and "hassle" of being his father's footsteps?
There is much talk of the sons of art, for better or for worse. I've never experienced as a whole, nor an obstacle. I grew up between the walls that sweated cinema, literature, theater, poetry, the workshop of a craftsman of the story, which, scalpel in hand, I have seen work with humility for years, elbow to elbow with some of the greatest directors of our cinema. I am the son of a blacksmith, and I find it natural and right that if the "family" is the path I have chosen to follow, can benefit all the teachings I received, without any kind of complex. Besides, who better than the blacksmith's son can learn the techniques for iron and forging? Everything depends on the relationship you have with your father.
What is your relationship with your father?
I have a wonderful relationship with him: I have an equal exchange, a comparison is always stimulating, and the age difference is substantial (forty years) and this prevents any rivalry. We both have something to give to another. Thus was born a "firm". And as long as work will continue to send it forward.
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| Matteo Cerami during the filming of |
How did the idea for the film?
The idea of \u200b\u200bthe film comes from the producer of "Casotto, Gianfranco Piccioli, who after 34 years he has groped wanted to repeat the experience of the film from putting on a film invented from scratch, collecting an incredible cast, high quality, shot inside the four walls in a few weeks. A challenge that "Casotto" won grandly, having become a cult classic for generations like mine, that 34 years ago were not yet born. Thus, Piccioli has returned to my father with this crazy idea. Dad was a bit 'skeptical, I will enthusiastically.
How was the stage of writing, four hands?
Very fast and fun. When you write a movie comedy, improvised all the time. A provides a situation to another, one exchange, and, depending on how the other responds, you decide whether to keep something of that flame, or throw it away. Then, slowly, the film takes a street, a style, a sense. The path of "All the Sea" has stood for nearly a year because of the blockade of the FUS. When I took the script in hand, I read it again and I realized what we had done. The last writing was a fundamental and decisive.
It 'was hard to direct 35 characters?
I always had the film in mind. I also knew I could run the risk that: fall into the metaphysical (a single place where everything happens is always metaphysical), or be too superficial, caricaturist (the characters are often told in three scenes over the top). For this I chose a cast depending on the thickness of the actors, and I have had great luck, because everyone understood what I was doing, and have joined with the same enthusiasm. Sometimes I tried to guide the actors toward the "truth" of the characters, sometimes I have stolen a bit 'of' truth 'to those actors who embody them.
The cast are so many good players in the Italian cinema, but as has been directing personality as Gigi Proietti, Sergio Fiorentini, and Ennio Fantastichini Ninetto Davoli?
a rule, most actors are good, the easier it is to direct them. Moreover, in an ensemble film, very choral like this, all the players know from the start that they must not bring the film on their shoulders alone. They are on the set the mood right, with the idea of \u200b\u200bhaving fun, and give their small but vital contribution to the film, without fear and without worry.
In the movie there is a constant interaction between humans and animals, please explain why?
"All at Sea" is meant to be a fresco fun, witty and a bit 'Italian terrifying the populace that is poured on the beach every summer as beetles. It is not a psychological portrait, it has more the style of anthropological observation. Under this view, the kiosk takes the form of an aquarium full of fish that you believe in the high seas, whereas swimming in a barrel. Some do a tantrum like unbridled horses, while others hide under umbrellas as frightened mice. Finally, there is who is lying in the sun like beached whales. Tell me if it does not appear to be animals!
Why to release the film in March instead of summer?
The film was shot in May-June for a very obvious reason: it is almost a continuous exterior. In August, it was impossible to do the shoot, as the beach becomes impassable. In September, many players were busy. The post was very long and laborious, for reasons not only due to the film. The first copy was printed a few weeks ago. So the film was ready now. There are three possible answers your question. The first two are purely commercial, that would give any distributor "does not take a film in the drawer for so long," and "summer people go to the sea, not the movies." The other, more disinterested, that I do, is that cinema is not television. If it's snowing outside, the movies I want to see the sun. Think of the success of the Christmas movie ...
How did the character of the man played by Vincenzo Cerami parrot?
Humanity is passing through the kiosk is completely random: is the people, or, as they say, the mass, which goes to the sea. All the characters that we have invented are the result of improvisation, there is a parable or a metaphor, in the selection we made. The metaphor lies in the more general framework, in which, in fact, this kiosk takes the form of a microcosm. And the more the characters are far apart, the microcosm is more varied and unpredictable. We were more interested in the parrot, of course. The idea of \u200b\u200bgiving a more sociological creatures that populate the holidays, we would like to include this nasty bird that flaps obsessively repeating phrases heard all day in the kiosk, was to echo the shit people, making fun of it, but in the end, somehow, also pays tribute.
As for the "suicide" staged by Ennio Fantastichini, what can you tell?
Ennio's character is the most mysterious of all. Remains unaccounted for his delusion and his personal story to the other characters as well as the spectators. Yet, in his words - mostly quotes from Ecclesiastes - are collected high truth, that no one takes, as committed in its day sea \u200b\u200bwithout worry. It is taken for a fool, debauched, maybe a criminal. But it is the only one who says what is true and beautiful.
How do you see the "middle class" in the era of globality?
Humanity "Casotto" was a child of war and hunger, entered the era of welfare watermelon in hand and bag full of steaks under his arm, in the cabin group, a small shelter to protect prying eyes of everyone - except the camera Town - 70 swimmers undressing the form of petty bourgeois and left hanging on a nail secrets, shame, pettiness, to show himself naked as nature had made them. When you threw into the sea returned free children. Today, hunger is gone, she became bulimic. The well-being is not an achievement, but a claim, and, ultimately, a small consolation compared to the impossible dream that we propina advertising. We are attached to our meager wealth and live in fear of having to return, sooner or later, someone smarter or more worthy of us. We do not go over the sea to impoverish, but to continue to play the comedy of life. Because we are not naked any more. The sea has ceased to be a blue horizon full of possibilities, has become a threat. It is "Zozzo, frothy, warm, GM and deposited on our shores every day people fleeing from despair and landed in Italy, full of dreams, as we were thirty years ago. Here, their dreams, today, we are afraid.
In 2001 you were assistant director Roberto Benigni's Pinocchio, as was the experience?
The filming of "Pinocchio" lasted more than six months. It is perhaps the most expensive Italian film ever made. Whatever the outcome, in those six months, Benigni has focused around the best of Italian cinema: excellent artists and technology. The experience of this set has taught me not only the "machine" movies, but also gave me a chance to see professionals operate from Serie A. It was essential not only for my training as a director, but also a screenwriter.
What is your approach to writing and what fascinates you?
As I said, I grew up in the shop of a craftsman, my father, who was young, as mentor, Pasolini. Pasolini has used every known language to express his poetic literature, drama, fiction, cinema, poetry ... My father did this wealth of teaching and he ranges from the novel, drama, film, comics. Seeing him work, I learned that every story has its own style, each style its own language. There are stories suited to the movies, stories that exist only in the written word, stories that require staging, perhaps silent, or sung, who knows. This "approach" is fascinating for me, because it is free. Each language has its constraints, its simple rules by the book, but should not be perceived as obstacles but as tools, such as challenges.
What do you think of Italian comedy?
The recent explosion of Italian comedy film scene in the last two years is certainly a happy event, because it helps to renew the affection of the audience to the cinema. My fear is that from now on and who knows how long, producers and distributors will refuse any other kind of film.
How has the comic from the seventies to today?
Monicelli As said, the real comedy has a bitter end. What I see out recently rarely accepts and respects this feature. The greatest appeal is almost always TV (think of the performers, all children of the small screen), the packaging is pastel, the result is often superficial. Even the trash is not usually worthy disciples. But this dilemma I think I have an answer: there are more characters, because today, quite simply, there are more "characters". That said, there are authors of high level, I think for example, Virzi, that the words of Monicelli has not yet forgotten.
What movies to watch movies?
I have two children, and fortunately a lot of work. Unfortunately I see many movies on DVD. When I can get some fresh air to go to the movies is almost always front of the ticket to make my choice. Usually I choose one in the smaller room because I know that the next time I will leave the house, there will be more. It has no idea how many masterpieces there are, in small rooms ...
The last movie you saw?
I think "immature". And before that: "The version of Barney." But what struck me most was "What do I want more," Soldini. Very nice.
What do you think the films "made" in Puglia?
What do you mean films "made" in Puglia? Films set in Puglia as "Loose Cannons", or Apulia as film "What a beautiful day"? For me there is no regional cinema ... There is a Cinema, which is the language of reality, and, as such, needs to feed his tales with reality which may be in Puglia, Lazio, Milan, or Sicilian ... You see, I mentioned the two films is quite a distance between them. That said, I love Puglia and I have wonderful memories of your land. It has a strong culture, ancient, of great character. And the landscape is magical. A director in search of characters and settings has no trouble finding in Puglia. But to get to know your land, you must come in person, not just two hours to tell it.
After this work, what are your future plans?
I have two projects in the pipeline different from each other. Alas, no ... A comedy is coming out like a thriller. It is inspired by a true story starring a forger in the 70s ended up in the hands of the Italian secret services. The other is more "hooked" to the present: it speaks of the escort, is a story of love and power. Ruby told you as if in a novel by Zola.
Three lines with Gigi Proietti /
Why did you choose to do this character?
Let's say you happen to make people more comfortable and I did this willingly and I also found old friends.
better understand the roles small and targeted to the cinema or those starring in theater and on television?
Well at my age to do certain roles is much less convenient because it is hard-laugh-and if the result is good, and I hope that in this film it is, with so little effort is achieved but in the end this is the result from the great physicists who want all the great "mechanics" - laugh-joke of course is not that I do not even like to do substantial roles, but in my opinion is very important and "taste" can make people laugh.
What do you think and what is missing in Italian comedies?
The fact that the "play" at this time, let's call it "comedy", is a driving force for the Italian cinema has always happened, I do not understand why we are surprised, indeed I was surprised when the play does not tow more, and the Italian comedy and movies that once were considered second-class, recently re-evaluated even by Tarantino, are all things that are part of the play, but this is not just about "the Italian case." Sometimes when you feel like never tragic movies no longer work as before? But never-Reply-quanno - laugh. "
Giuseppe Arnesano
