Among the most appreciated director of contemporary Italian cinema, author of the international phenomenon unknown Perfetti, Paolo Genovese was protagonist at the Filming Italy Los Angeles, where he received a recognition of the kermesse and presented his latest film, Follemente. The exhibition represents a cultural bridge between Italy and the United States, and for Genovese it also becomes an opportunity of direct confrontation with the American public, called to react – between laughter and emotions – to his new psychological comedy.
We start at Filming Italy Los Angeles. What does it mean to be here, in a review that brings Italian cinema to America, and receive this award?
These are important occasions, because they allow us to export our stories and present them to an audience of another culture and language. For an author it is a very interesting comparison, especially in the hall: you really realize if the film is understood and appreciated. In this case I bring a comedy, so the feedback is immediate: feel if people laugh, if your humor meets the American one. It is a moment of confrontation with the international scene. In general, whenever I participate in a festival in the world I perceive how much Italy is loved: the rooms are always full for Italian films. It is a way to export not only cinema, but also our country in all its forms.
About international success: Unknown Perfections is one of the most remake films in the world. What does it mean to you?
It was an extremely lucky movie and appreciated everywhere. I think strength is not only in the idea, but also in the historical moment in which it comes out. In 2016 the cell phone was really overwhelming our lives, and we began to realize it. A film about this has become almost a collective psychoanalytical session, a social detonator who has lit a widespread conversation. Very often the films work like this: they treat a theme that then continues to live in the word, and this naturally strengthens them.
Even madly it brings us into a psychological dimension where we can all recognize ourselves. How is the idea born?
I think whoever wants to get into the head of the person in front of him, whether he’s a girlfriend or wife: it’s something very fascinating. Many have cited Inside Out, a comparison that flatters me, but the idea is much older. More than twenty years ago, I made a spot for Rai based on the concept that in every individual live so many different people. Then I continued to work on this theme also in a small movie of 2004, No message in voice mail. A few years ago, with my script group, we tried to tell again this inner multiplicity. I believe that success comes from strong empathy: within our minds continuous revolutions, made of fears, fragility and anxieties that we often hide. Discovering them creates a pact with the viewer. And then there is a fundamental element: the film is laughing, and it is not little.
A cast full of great actors. Is there any anecdote from the set?
You work a lot, first of all. It was a complex film, also because history has a temporal unity but was filmed at different times. The “real” characters and those representing their minds were taken away from weeks. For the actors the difficulty was to dialogue with someone who, at that time, was not really present. Synchronization was the most complex part of work.
Future projects?
I just finished shooting a new movie, the noise of new things. We are in the assembly phase: with calm will come that too.
L’articolo Paolo Genovese Awarded for Filming Italy Los Angeles proviene da IlNewyorkese.
