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Director's Statement
It wasn’t easy to decide to direct a movie based on our stage drama “Nunzio.” Before taking this decision we asked ourselves why we wanted to make a movie out of it.
Of course, we didn’t want to realize the film version of the stage drama, which we played under Carlo Cecchi’s direction, one of the most preeminent personalities of the contemporary Italian theatre. Well then, why a movie?
Sometimes, it’s necessary to risk and, artistically, we’d always like to do just what’s necessary, that’s why we decided to transpose our stage drama in a movie… because of necessity. The necessity to discover what theatre and cinema both share and part; that was our most important goal.
The first confrontation came with the thoughtful screenwriting phase, when we started to love and hate the stage text of “Nunzio” at the same time; this conflict allowed us to write a screenplay which differed from the stage drama, nevertheless consistent with its fundamental nature.
On this subject, the advices and the great experience of Giuseppe Tornatore were crucial.
The film pre-production started when the definitive screenplay version was almost ready with a lot of enthusiasm from our producer Francesco Tornatore. Thereafter, we met the director of photography Blasco Giurato, with whom we had a sudden understanding and an extraordinary empathy, then we met the cast.
The casting process was quite easy, because we didn’t have to leaf through the actors portfolios. We knew already the actors, and we esteemed them artistically, since we’ve had previous stage collaborations with most of them.
In our opinion, there’s no difference between screen and stage actors, we consider them basically actors! They’re the kind of actors who are able to connect with their colleagues, who listen and who don’t just pretend to play.
During our meetings with the cast, before discussing together the characters, we reminded them of a L. Jouvet’s quotation: “it’s easy to identify with the character and to represent him the way we could meet him, it’s possible to reproduce the actions, recreating moments of false reality on stage: all this is human, too much human. It’s necessary to get through it…”