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I am Samuele Rossi, I'm from Tuscany, I am tuscan,
and I'm 27 years old, almost 28. How was born my passion? Good question and
it's not easy to summarize. For sure it was born from the writing.
I write since I was kid and my parents gave me a pen in my hand.
I have always know what I wanted to do: to tell stories.
From there, then, at a certain point, I have had the desire to tell stories with images,
so I must say, in my case, that words and images are tightly contiguous,
strictly close and nurture each another. Indeed the writing is very important and,
concerning my work, my job, my passion that I hope I can keep on feeling on me
over the years, I always start from that, then images are conseguences,
offsprings of these words, of these stories which born, before, on paper.
Let's say that as I have always tought to be a director you must have first of all a culture that
could support your will, the hitch, the possibility to say something, to tell a story, a privilege
but overall a great responsability, so to study has been something fundamental, important.
This is why I graduated, I went to the university, and then I attended a school that could
account more professional my field and this is way I attended a school of a cinema and a course in directing.
To be honest has been useless because I learned more thing on film being on a set and
working as assistant director on various films, which in a certain way developed my field,
my artistic field and than the movie, a sudden debut because I shot it when I was 25,
my first movie, "La strada verso casa", a nontraditional age in Italy.
On the contrary, in other countries, especially in the United States is quite normal where
there are directors which are 25 years old and they just made two or three films.
I want so say that is fair by for sure for Italy is something unsual.
A huge production and artistic sacrifice because condition in which this film was born were very hard.
A self-produced film that hasn't renounced to be au pair with great productions.
So from a technical and productive point of view wants to compare with millionaire productions
and from this point we succeeded. Now we are at the final act: distribution.
EchiVisivi was born in 2009. It's part of ... EchiVisivi it was a dream and part of this dream became true.
It's the production that I live, together with other guys and still now makes, produces, use in the field, projects that we try to make true.
It's a project that is part of my dream that wasn't just to be a director, or not just that,
even if it's the centre, the hub of my life, but the most important thing, for sure,
was to create a home, a common space, a human affective and artistic network that could
make things easier, more interesting, more beautiful, work itselfs, the making of cinema,
a sort of factory, a sort of environment where people could reflect, reflect in a world
that in a certain way represents them, because the current problem is this:
especially our generation don't have a space where they could live with heart, with serenity,
with the beauty to live a passion, and overall to make possible a job, something of very
difficult today if not possible. So, combining forces, doing double-team, teaming-up, trying to
fix common points of a shared way, we have established at first a cultural association,
something easier, especially from a burocratic point of view, then we established a society,
a real production society, who wants to involve, seriously, in a professional way,
its own projects and whitin three years has became reality, because we don't have just a film
on the shoulders, that toured Festival, and now has been released in theaters, but we have
just used in field two documentaries, we are thinking about a new feature film.
Well, it is a serious and young group, and it's not just a question of age, in the sense of ideas,
which aim at a real innovation, connecting with the past of italian cinema, that has always
been good, in the sense of double-team and rallying to reality that is a lack of our current
cinema because it is without stiffness, totally disconnected from present context,
from daily context, it lives on a cloud that makes it banal and without stiffness.
We are looking to make it something true, maybe smaller, easier, because it is right to put it
back in its right perspective when you can't hold a high level, but it is a true gesture, honest,
that is trying to rethink its own artistic field, its own professional dimension;
I think that EchiVisivi represents this.
It is a country of many filmmakers and few spectators. I agree with this idea that binds to
double strand to a concept a little cocky and a bit superficial that we have on the profession
today, at least in our Country. On the one hand presume to be considered in any context,
in any way, in a increasingly liquid society, a net that allows increasingly to pretend to be
a talent and in this case mainstream media are obviously accomplice with the new media,
all feel not only "artists", but also feel able to say anything, because they are the same means
to make it possible to arrive, although to a very narrow audience, but this public is enough to
amplify, emphasize, an ego, a narcissism, which now belongs to us, because we live in
a society of the ego. And this fact makes it legitimate to the thought of "too many filmmakers",
I would say "too many" believe to be directors or more broadly consider themselves artists.
"A few spectators". This binds the presumption, superficiality, and a society which does not concern the content of a an artwork,
the following of the development of an artistic career, a professional career, a path of thought.
It is a society that is content to look but not to know, to think, to learn, to absorb inside what 0:09:19.22,0:09:23.10 the company can offer. Hence "few spectators".
Because it lacks the interest, the desire to listen, to take an interest and lacks the desire
because we are a lazy society that expects all arrive directly on the table where maybe is supported the same computer with which you are browsing.
This makes all of little value and every gesture that someone or a few maybe spend with strength,
with vigour, is trivialised and therefore becomes equal to everyone else. That's why so many directors.
And this is something demeaning for those who make this craft really heard it.
because the fact of making a short film, to shoot a video with a cell phone that maybe then
put on facebook, has never and cannot ever be, even though it's great that today everyone
can feel talent owners, owners of a talent, but it's never the same thing, because an artistic
path is sacrifice, study, fatigue, listen to thoughts, tune in than other routes, to other people, other ideas.
And this is a very long path, of years, and it needs to develop an idea, a vision, a perspective,
a point of view, and is the only way, perhaps, you can be considered as directors and not authors.
The author is the next step. Today they all feel authors but perhaps not known to even field
a good shot or staging with dignity. Then, Yes, ours is a country that puts it in view but which
has difficulty to hear, to see, to observe, and this should be changed, it should be changed
with the humility and the desire to listen again, do less things but doing them better, focus on
what you can learn, and not just on what you have the presumption to be able to give, and
become smaller because only in a smaller dimension, you can try to return.
Besides our cinema taught us, the cinema that was born, not to return there, but sometimes you have to go back to basics.
Our cinema after War is emblematic, they were first of all of the people who considered
themselves hireling, small, insignificant, but small, because they wanted a trade, wanted to return to reality,
but that period by comparison with the real, humility, have become those great masters from which we must return to learn.