1.What do you think are the most important elements of cinema? What are the main elements you dealt with while doing "Writing of a love"?
Cinema is a rich and complex art, because it presents the art of the image, that of the word and that of music. To make my film I took care of all these fundamental aspects of the work, from the writing of the subject to the writing of the screenplay, to the coherence of the acting and, last but not least, to the making of the music.
2.How do you work with actors to achieve the desired results?
I paid particular attention to the casting phase, and then I explained to the actors their characters in a single meeting between all of us, before starting the remaking. During the shooting I almost never intervened on their acting: I think in fact that the good actor should be free to re-invent his character, looking for his "soul" deeper. In this I achieved surprising results, because often the actors themselves have brought to light nuances of their character that have enriched with force the very subject of the film.
3."Writing about a love" has a great original soundtrack. How did you instruct the music director to create such a soundtrack for the movie?
Also for the music I left the composer Marco Sala totally free, who obviously then proposed different solutions for each single scene. It was important for me that Marco had understood my work thoroughly, and everything was resolved in a musical column that, I agree with you, is a great work of author.
4."The distribution and promotion of films is an essential part of its success". What do you think?
I think it’s of the utmost importance. Unfortunately, both distribution and promotion depend on marketing factors that the author is not able to manage directly. It is very difficult to convince (even to be read) by producers or distributors who do not understand, or do not want to consider, so-called “auteur films”.
5.What inspired you to make the movie "Writing about a love"?
It was the idea that love, like all human emotions, is subject to a tangle of different impulses, where there are never absent the selfishness of everyone, the inevitable lies, and the habit that kills even the most beautiful things. The final idea is the one told by the director in the last scene, voice-over: maybe we should live love in the very moment of its existence, without despair when it ends. Love will therefore be lived for its own sake, in the short time that existence grants us.
6.What was the budget for the film " Writing of a Love". Did the film succeed financially?
I personally financed my film, with an initial budget of 4,000 euros and a final expenditure - including entries to the competitions - of about 15,000 euros. We can therefore consider it a micro-budget in the film industry, which could still be operational thanks to the dedication of the actors and all the collaborators, and the musical column of Marco Sala, which was given to me in all friendship and collaboration. From a financial point of view, the film has not yet cashed a single euro, because it has never been proposed for distribution. On the merits, note that in Italy it is necessary to present yourself as producers in all respects, even fiscally, something that I did not consider appropriate to do for this my first film, definitely for a selected audience, that is, not a lover of commercial films.
7.Are there Easter eggs or hidden messages in the movie that viewers might not know about at first sight?
I don’t know. Maybe the dialogues are at times very complex and profound, and some spectators have told me that they wanted to look at the whole film a second time, just to deepen the existential and philosophical themes it traces.
8.Did you have any specific influences or references during the making of the film?
The authors who taught me were first of all Ingmar Bergman and Bunuel, but I greatly appreciated, in my youth, all the French Nuovelle Vague. My cinema is therefore intimate, existential, and in this I am not in the least interested in action or commercial films.
9.How does Sound Design help to increase the quality of a movie? Did you give special instructions when playing sound on the post?
Unfortunately, for reasons of initial budget, I had to take a personal interest in both live sound recording and post-production, and I am not a technician in the industry. Only today, more than two years after the product you viewed, I was able to get the best possible sound, having had experience in the industry.
10.How do you deal with projects that have very tight deadlines or difficult locations?
I believe that nothing, just nothing is impossible. It is enough to love what you do, and the difficulties will always be overcome.