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Director's Statement
The idea behind COME TE NESSUNO MAI is to speak about a generation which has been somewhat neglected by Italian cinema recently - the generation of sixteen-year-olds.
The film doesn't set out to represent all kids of this age, but simply to teil the stories of some of them which, I'm convinced, are similar to those of dozens of others. The stories told in the film are very much like the ones I lived seventeen years ago, just as my experiences resembled those of the generations before me.
This is because some of the experiences we live at this particular age are, so to speak, universal. They form part of the beginning of a great adventure which leads us to the discovery of love, friendship and the most radical, profound emotions. At sixteen, we come to terms with our parents, school, society and the opposite sex for the first time in our lives.
We also take things very seriously indeed. If we have to believe in something, we do so without restraint. We believe immediately, no questions asked. We often want to change the world. The most romantic, fascinating thing is that we can do it relatively simply. We usually start by protesting uncompromisingly against our family and the society and the system we have grown up in.
The point of departure for the film was the meticulous work we did on the treatment and the screenplay. With my brother and his girlfriend Adele Tulli, we wrote and rewrote the screenplay. I wanted every dialogue to sound right for them.
It was only alter they'd approved the script that I began looking for actors. I wanted them to be exactly the same age as the characters. No one had to be older than seventeen!
We looked for them outside schools, distributing leaflets inviting students to come to a small theatre to audition for the film. After some months and about 900 auditions, we formed a cast of absolute beginners.
I am very grateful to all the youngsters who worked on the film. They gave of their all, playing themselves with pure instinctive flair and without controlling their emotions in any way.
At first, the leading role wasn't supposed to be played by my brother Silvio. I didn't want him to act in the film. I was frightened I wouldn't be able to direct him because we're so dose. Despite my concerns, and aller looking in vain for someone to play the leading role I decided to let him have an audition. It was there that he convinced me that he was the right person for the role.
During this long search phase, we also chose all the youngsters to occupy the school. More than half of them had really taken part in the occupation of their own school. This is one of the reasons why, in the most complex crowd scenes, they all knew exactly how to behave and what to do.
The film has three different `souls'. The first is the occupation of the school and the revolutionary urge of many of them. The second is love and the discovery of this feeling in the most complete, `adult' sense of the term. The third is the relationship between parents and children.
In the role of Silvio's parents, I had the honour of working with Anna Galiena and Luca De Filippo.
In the family scenes, the 1968 generation (Silvio's parents), the generation which only came into indirect contact with the events of 1977 and had to make do with the so-called 'Panther' movement (Silvio's brother Alberto, played by Enrico Silvestrini) and the generation which has hardly even heard of the Cold War and the H-Bomb (Silvio and his sister Chiara) confront each other. Here political confusion comes to the surface, together with the void left by the collapse of the Berlin Wall, the fuzzy contours of politics, which seems more and more remote and indefinite - even those who want to understand have problems in doing so.
What anyone who is sixteen today and wants to be involved in politics basically lacks is a real enemy.
They have no war in Vietnam any more, no demonisation of the middle classes. No Alfa Romeo
plants with striking workers. No Cruise missiles and no Cold War.
No Christian Democrats and no Communist party.
So what' s left?
Values. The most profound, universal values, the values the leading characters in the film are
looking for.
Anything else is just surface effect.
Gabriele Muccino