To film The New York Story, actor Marco Fanizzi spent two weeks in the Big Apple playing his eponymous and working as acting coach and direct help. In this interview, Fanizzi analyses his approach to the role, practical difficulties and enthusiasm of turning into a city deeply linked to the cinematic imagination, reflecting on the value of collective work and the differences between the American and Italian cinema industry.
Turning a movie is always exciting, but doing it in New York even more? What were the most special moments of filming? From the hardest to the most fun..
As far as I’m concerned, I tend to throw myself into things, especially if it’s my job: let’s say I take things with a huge enthusiasm, sometimes disproportionate. This state of euphoria to the news that I would go to New York but it shadowed the fact in itself, as often happens to me, and so when I landed after 9 hours of flight, it was only at that time that I really realized I was in the Big Apple. For an enthusiastic like me luck is that you experience joy in the immediate but also surprise when you actually realize that you are really experiencing the situation where you are.
There have been a lot of special moments but the one really more impressed in the mind was the last day: when we realized that in a couple of weeks we were able to shoot a whole movie far beyond the expectations we had when we started. It was a path of daily enrichment of the script, of deep study and then of free invention and creativity, also and above all from the point of view of actors.
The hardest time was definitely when, at the beginning of the second week I found myself almost totally aphoeed and cooled: unfortunately in New York they still did not understand how to find a right viable temperature inside the metro and in the premises. But NY is so, I seemed to understand: there are no means terms. Almost ever.
There were many fun moments for me, especially when it was time to work together with the various interpreters, including David, in the role of acting coach and direct help: there is nothing more fun than acting. I know it’s trivial said by an actor, but how do you explain that it’s the thing that comes closer to getting kids back and seriously playing “pretend…”?
Can you anticipate something about your character?
Marco, my eponymous, is a person of whom David, the protagonist, trusts and trusts: he is one of his best friends, surely that in his New York daily life follows him more closely. He is a very fortunate boy economically (his dad made good fortune with… no, no spoiler!) Who found himself in NY to understand a little better himself: what is good at doing? Can you do it without your father’s help? Is that really his “place in the world”? Through meetings and an event that deeply marks Marco (he) will be able to answer these questions. A reply of his own and his only, far from morals or “zan-zan!” Finals that with David we agreed to avoid.
How did you get ready to play it?
Overall vision is an indispensable aspect for me. Before even deepening the reasons and needs of my character, I need to understand the general movement of the film: what do you want to tell? How do you want to do that? My character “incarnates” a certain atmosphere that the film needs? I mean, when do you see my character waiting for you? Light, pragmatic, dreamy, inspiring? In short, what is the function of Marco (always him) in the whole story? Once you understand this is very beautiful and tendingly easier to understand when it is the case of loading emotionality a scene where you do not expect from Marco a certain depth or exposure of certain fragility. It is also a bit of a game to “fight” with the viewer to conquer it: you always fall in love with a series of facets, not monotony.
What does it feel like to take part in a film that tells the birth of a newspaper? Did you feel a responsibility to tell him?
Meanwhile, I think it’s a very original story, in this respect. That I remember I don’t have a film in mind that speaks closely about this theme and originality is an aspect that always rewards me. A certain responsibility I felt when I realized that the story we were telling also passed through interviews with people (not characters) who live and work daily with so many sacrifices and satisfactions. I felt compelled to give dignity and depth, in my little one, to all those people and to who knows how many others will feel told and represented by this film.
New York is an open-air film set. Is there a particular place, because seen in a movie, you wanted to visit?
How do I explain rationally that in the midst of the “Streets” and the “Avenue” of NY I really expected from one moment to another to see a man in the red-blue suit hanging from his webs and to make roe and turn in the air? Whoever would freak me out. But I’m sure I’m not the only one who has tried a sense of deep surrealism almost hallucinated in just strolling the street. NY has never been my ideal destination for a trip or had prefixed places to visit, but I found out I had it in more than I expected.
What do you think American cinema is missing from the Italian cinema and vice versa?
American cinema has the courage that often lacks Italian cinema, but “the courage gives you money” as De Filippo wrote in the masterpiece “These ghosts”, and the Americans definitely have an enviable cinematic welfare. Italy, however, still has a sensibility and a way to tell the small huge personal dramas with an enviable touch. “Don’t be evil” of the immense Caligari (which as brave as it wasn’t according to any American of yesterday or today), while being a film of more than 10 years ago remains among the most beautiful films I have ever seen. Perhaps in Italy we should start taking seriously the cinema and the show in general as in the USA has always happened. Moreover, the value of the entire Italian cinema industry is estimated around 12 billion euros. Only blind and indifferent policies would not recognize its value. No?
An American actor or actress you like to inspire?
Al Pacino is the greatest American inspiration I can think of. It is impossible to remain indifferent to the words of this illuminating actor whenever he speaks of acting. I recommend it to anyone who spends a difficult period of his life because he receives a wave of energy and vitality very precious.
Your favorite American movie?
Nomen omen, has always been “American Beauty” with an immense Kevin Spacey and an extraordinary Annette Bening led by the delicate Sam Mendes. A film that always makes me cry, that always makes me laugh, that makes me feel the download of vitality that all the great movies can transmit.
What do you think of the American dream? Do you think it still exists?
The American dream still exists to the extent that there will continue to be resources in the USA not even remotely comparable to those, I do not say Italian, but European. I believe in great dreams, otherwise I would not have given so much to acting; I do not believe in “big” dreams, because I do not believe in the value of quantity. A great dream is such only if those who guard it really want to take care of it, and there is nothing wrong if you realize that in that dream maybe you don’t believe anymore. Also of this theme to me very dearly we managed to speak in this film.
The most valuable teaching you took from New York? From a professional point of view but also personal..
I would say that you could sum up with “Remember that you are not alone”. NY reminded me every moment of every single day I was there. As an actor you often fall into the loneliness of your character and your interpretative process, but it’s a lie: even in the scenes alone you have to remember to be telling something. Even as a human being you often fall into the loneliness of your character, perhaps doing things that you really don’t want to do, betraying yourself and coming soon to unhappiness. Here, the other always saves you. Both actor and man. We’re here. We’re together. In this Big Apple that is the world.
L’articolo <i> New York Story</i>: retroscene, characters and set life in the story of Marco Fanizzi proviene da IlNewyorkese.
