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Berlinale, il Cinema non è morto

Da qualche anno il refrain è sempre il solito. Il Cinema è in crisi, a livello globale. La quantita, la sovrabbondanza di contenuti, di canali che offrono contenuti, di possibilitá di scelta, in sostanza minerebbe alla base il sistema Cinema, destabilizzando le sue possibilità ecomiche e di profitto. Quindi contenuti a bassissimo costo (un abbinamento a Netflix condiviso può costare, in Italia, circa 40 euro l'anno) spingerebbero l'intera offerta verso un livellamento basso. 

Eppure a Berlino si respira aria di fermento. Culturale ed economico. Le storie, a quanto pare, non passeranno mai di moda. Nessuno può plausibilmente proevedere o indirizzare che fine faranno, su quale piattaforma saranno visti dagli spettatori e sopratutto, chi saranno questi spettatori del futuro? Questo oggetto misterioso. 

Dei giovani si dice (generalizzando) che non vanno al Cinema. Piuttosto scaricano, guardano compulsivamente serie, ma non spendono (comprensibilmente) otto euro per infilarsi in un multisala che magari dista chilometri da casa loro. Il consumo in sala è quindi destinato alle vecchie generazioni?

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Storytelling or die

There is something that does not convince me yet. Doing this job is a choice, no doubt. It is wrong that the only aim is money. We're not from Holliwood. It is clear likewise that this job brings a series of personal matters, family problems, financial difficulties, along with wealth and psychological problems.

99% of the cases mankind looks at you like you were an alien living in a world of fools. The supposed fools you live with, look at you as if you were a confident, a solver, an analyst. Your wife treats you like a momentary appearence in a sea of absence. Yesterday your daughters were beginning to have their baby food but now are asking you for their pocket money and are breaking up with their boyfriends. Meanwhile the time you take to tell the story you chose would pass among trials, curses and swears. And this not exactly flattering list works for everyone: the producers, the directors, all the cinema creators.

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The Croisette makes the difference

I'm passing quietly through several human classes. I am going to the most fashionable and elegant festival in the world. There are those wearing smoking and sunglasses ( many) placed around the red carpets, the crime scene of the festival. Soon Nicole Kidman and Tim Roth will parade with dark faces for the Grace premiere. Maybe they already feel it will be a flop. Then there are those who desperately search for a ticket, possibly a last minute one to get to see a movie no one will remember. This group of people is big, too, and they are all piled up at the barriers, armed with cameras, mobiles or ipads, even though they will be able to portray only the necks of the people in front of them.


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Why I chose this story

Why I choose to write Imago

Image is part of us, since we are born. Our age, time, lives with the concept of image, which has allowed us to have a collective memory based on the same concept. The functionality of the images allows us to know reality that otherwise wouldn't have experienced. And that is perhaps the main point of my little argument, namely that the image conveys only a portion of the experience, yet it claims to be real. But it's a partial, as all the stories, and not objective, as all the points of view. But for decades has been assigned to this art form relatively young (about 170 years ago the first photo was made) an absolute function of truth.


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Behind the scenes of the Imago

Glasshouse, a London street in the small, medieval town of Sillico.

Cinema has a magic touch, cinema changes things. In the district of Pieve Fosciana, on a peak, lies Sillico, a medieval village. It is immersed in a charming quietness one can find only on the top of a mountain surrounded by breathtaking greenery. There are not many inhabitants, considering the town's dimensions, but they are all wonderfully friendly! This little town with its tiny, quiet streets and its houses bound toghether with a connection made of stones let in for an entire month a very busy film crew

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Metropolis: a story



Metropolis storie


Metropolis: the stories


There are well- told stories we heard and are sure will stay stuck in our heads. That's exactly how it works: our brain, facing a great story is immediately put in motion, we can't help it. Everyone has got a story, because he or she is actually living a life, but it doesn't mean then, that everyone is willing to tell new stories. Not always there' s an audience listening, so many times our stories remain in our heads, waiting for better chances. Who we are and what we want to be is already something to tell, no doubt. In Youtube, that great, modern archive there's a five-minute video called “Tonino Guerra explains his world to joung people” (watching it is surely a good and constructive way to spend some minutes in life). The Maestro uses wonderful words to give joung writers an advice : “you can't meet directors like Fellini, Tarkovskij, Rosi, Angelopoulos, Taviani, De Sica or Monicelli and say “I have a story to tell.” At least you must have a hundred stories. You must be full in first place. The issue is not about what to give to others... First you must fill up yourself. When you' re overflowing with flowers, ideas or messages, you'll be of some use” Team work allows you to be constantly in contact with stories of others, that sometimes emerge and need to be shared. Metropolis' mission (“ write great stories to be told in unconventional and engaging ways”) is ambitious and defines exactly the profile of this producing company, telling something about its DNA, one might say.


Right now The Imago is the project that's requiring most of our energy and attention. It's a movie, and so basically a story that contains other stories, some kind of a great road that leads to many secondary paths.


We need competences to do what we would like to do, and competences take some time to be formed.


“The Imago is a visionary way to deal with a complex and yet fascinating topic such as the cruelty of human beings”. This is the idea of one of the most important staff members, the special effect supervisor Stefano Bellandi. “I like fantasy stories that are about somthing not real. I mean: cinema is emotion to me, but also entertainment and immagination. I think these three elements blend prefectly together. Metropolis is a lab where we experiemnt and produce, and many times we experiment through the production. It is like a forge, and just as a forge it grew up during the years. It all began with the common passion for telling stories, not from plans or projects. I must say that this whole structure was not that fast to develop, because we need competences to do what we would like to do, and competences take some time to be formed. Preparation always take some time. We went through some trials to create a team bound together by passion. Indeed we're bound together by passion, or that is, by the wish to reach a common goal. Everyone uses his competences to do this work and we all respect others' skills. I'd like to say this: It is more important to us to keep a team together than begin new projects no matter what. If a team is unite and can work with a relaxed mood any project will be more effective, rather than remaining a mere application of technical skills.


We focus on the help each one of us can give, because we know that the plan we are working to feeds direcly on the experiences of the people that are bringing it about; otherwise all of it it is not real



Giacomo Ramacciotti

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