They met on the Cabrini set, creating an artistic and human dialogue that continues today. She is Cristiana Dell’Anna, an Italian actress with international breath. He is Jonathan Sanger, American producer and reference figure in the film landscape.
In this conversation they reflect on contemporary cinema, cultural identity and new narrative perspectives.
Jonathan Sanger: You’re now in New York and you’ll be back in L.A. soon. You have already worked several times in the United States: how do you see this moment for an actor?
Cristiana Dell’Anna: It is a complex and at the same time very stimulating moment. I have often wondered what has changed since I dreamed of becoming an actress. As a child I imagined Hollywood as an almost mythological place, a well-defined arrival point. Today, however, everything is much more fluid. The market has changed deeply, as well as the stories that are told and the modes of production. There is a much wider variety of voices, cultures and views. This makes the panorama richer, but also more competitive and less predictable. The very concept of Hollywood has become: it is no longer a physical place, but a widespread global system.
How do you think industry is changing?
Jonathan Sanger: He’s going through a phase of great transformation. Large studios are consolidating and looking for new sustainable economic models. Salt films are less and less and tend to be great spectacular productions, designed to attract large-scale audiences. This leaves less room for intimate projects on the big screen. However, these stories do not disappear: they find a new home in streaming platforms, where they can often be told with greater depth, even in serial format. In this sense, opportunities have not decreased, but have simply moved. And one thing remains unchanged: the need for great stories and great interpreters capable of making them authentic.
You are a very versatile actress. How do you choose your roles?
Christian of Anna: I always try to avoid repetition. For me every role must be a challenge, a new territory to explore. Being Italian but with a bilingual and international background, I often find myself in a particular position: I carry with me a precise identity, but at the same time I am not easily incasellable. This can be complex, but it is also a great opportunity. I believe today it is essential to contribute to building a new Italian narrative, more contemporary and adherent to the current reality. The great masters of the past remain a reference point, but we cannot limit ourselves to replicating those models. It takes a new look, and Cabrini was, for me, an example of how we can tell our story in a different way.
Cabrini also tells a story of immigration. How current is this theme?
Jonathan Sanger: It is extremely current, perhaps more than ever. Immigration is the basis of the construction of the United States, yet today it has become a very divisive theme. There is a sort of collective forgetfulness regarding the fact that entire communities, including the Italian one, have contributed decisively to the development of the country. Films like Cabrini have the merit of bringing attention to these roots and offering a more complex and human perspective. I think there are still many stories to tell about this theme, stories that can help create a more conscious dialogue.
Today cinema is increasingly international. How do you see that?
Jonathan Sanger con David Lynch e A. Hopkins sul set di Elephant Man (1980)
Christian of Anna: I see it as a natural evolution. We live in a completely interconnected world, where stories travel quickly and cross borders. It no longer makes sense to think in strict terms of nationality. Productions are increasingly hybrid, multinational, and this allows a very interesting contamination between different cultures. Italy, in recent years, has returned to attract the attention of international productions, both for locations and for artistic talent. It is an important moment, which could lead to a new phase of growth.
In recent years we see many biopics and real stories. Why do you think?
Jonathan Sanger: I think the audience today feels the need to reconnect with reality, but in an inspiring way. In a complex historical period, marked by uncertainties and tensions, the stories of real people who have overcome extraordinary difficulties become a point of reference. They offer hope and show that you can change your destiny. It does not mean that fantasy has no more space, but when we tell reality, the public seeks concrete examples of resilience and courage. And this kind of narrative has a very strong impact.
You’re not just an actress, but you may be a producer or author. Interested?
Cristiana Dell’Anna: Yes, very much. It is a journey that fascinates me more and more. I am very inspired by the model of some American realities, like that of Reese Witherspoon, who built a production house starting from a very clear vision: choosing strong stories, often drawn from books, and giving space to complex female characters. I like the idea of having a wider control over the creative process, from the choice of history to realization. At the same time, however, the recitation remains my first love and I would never abandon it. The ideal would be able to combine these dimensions.
How do you choose the projects today?
Jonathan Sanger: Today I am much more selective than the past. Making a film is always a complex and challenging process, so I feel the need to devote only to projects that have a deep meaning to me. I’m no longer interested in working on something that doesn’t really involve me. I look for stories that can leave a mark, that have an emotional or cultural relevance. And above all I seek authentic collaborations, with artists to share a vision with. That’s what makes the job really rewarding.
Remember when we were talking about books on the set?
Cristiana Dell’Anna: Yes, it was our first real connection point. We spent a lot of time comparing on readings, ideas, suggestions. It is rare to find someone with whom you immediately create this type of dialogue. I remember in particular Aleph of Borges, who was the book from which everything started. From there the conversation has expanded to many other themes, and it has become a real harmony also on the creative level.
Before greeting them, we asked Jonathan Sanger and Cristiana Dell’Anna what their future projects are.
Jonathan Sanger: I’m working on several very different projects. One concerns Frederick Douglass, an extraordinary historical figure, but I want to tell a specific moment of his life, the one spent in Ireland, which profoundly changed his worldview. Then there is a project on a woman entrepreneur linked to the Maidenform brand, a story that combines business elements, feminism and pop culture. And of course I hope I can soon find a project to be realized together with Cristiana, because our artistic meeting was really special.
Cristiana Dell’Anna: I’m also working on very interesting projects. It will shortly be released a series on BritBox America, and then a film set during the financial panic of 1907, a very fascinating historical period. They are different stories, but both very intense. And yes, the idea of working together again is something that really excites me: when there is such a strong artistic tune, it is natural to want to continue.
L’articolo Cristiana Dell’Anna and Jonathan Sanger in conversation: the story of the new Hollywood comes from IlNewyorkese.
