credits not contractual

Transcript

Nicola Giuliano Francesca Cima
in collaboration with
Rai Cinema
present
KRYPTONITE !
(LA KRYPTONITE NELLA BORSA)
a film by
IVAN COTRONEO
produced by
Indigo Film
Rai Cinema
Based on the novel
“La kryptonite nella borsa” by Ivan Cotroneo
published by Bompiani
ITALIAN RELEASE: November 2nd 2011
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GEORGETTE RANUCCI
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.CREW
director
story and screenplay
IVAN COTRONEO
IVAN COTRONEO
MONICA RAMETTA
LUDOVICA RAMPOLDI
Based on the novel
La kryptonite nella borsa – published by Bompiani
d.o.p
editor
set designer
costume designer
music
sound
sound editor
first assistant director
casting
LUCA BIGAZZI
GIOGIO’ FRANCHINI
DONATELLA RUGGIERO
LINO FIORITO
ROSSANO MARCHI
PASQUALE CATALANO
EMANUELE CECERE
SILVIA MORAES
DAVIDE BERTONI
PINO PELLEGRINO
COSTANZA BOCCARDI
executive producer
associate producer
VIOLA PRESTIERI
CARLOTTA CALORI
produced by
NICOLA GIULIANO FRANCESCA CIMA
INDIGO FILM
RAI CINEMA
production
with the contribution of
with the support of
distribution
nationality
year
running time
format
MINISTRY OF CULTURAL ACTIVITIES.
CINEMA SECTION
LUCKY RED
ITALIAN
2011
98’
35mm 1:2,35
.CAST
VALERIA GOLINO
Rosaria
CRISTIANA CAPOTONDI
Titina
LUCA ZINGARETTI
Antonio
LIBERO DE RIENZO
Salvatore
LUIGI CATANI
Peppino
VINCENZO NEMOLATO
Gennaro
MONICA NAPPO
Assunta
MASSIMILIANO GALLO
Arturo
LUCIA RAGNI
Carmela
GENNARO CUOMO
Federico
SERGIO SOLLI
Vincenzo
ANTONIA TRUPPO
Valeria
ROSARIA DE CICCO
Miss Lina
CARMINE BORRINO
Elio
NUNZIA SCHIANO
Spanish aunt
and with
FABRIZIO GIFUNI
Matarrese
SYNOPSIS
Every family has its secrets. But some are funnier than others.
Naples. 1973.
Peppino Sansone is 9, comes from a large and fairly chaotic family and has an older cousin,
Gennaro, who thinks he is Superman.
Peppino divides his days between the crazy and colourful world of his young aunt and
uncle, Titina and Salvatore, made up of dancing in squares, parties in basements and
attending feminist collectives, and his home where his mum has shut herself away in an
incomprehensible silence and his father tries to distract him by giving him little chicks to
keep as if they were pets.
But when Gennaro dies, Peppino’s imagination rewrites reality and brings him back to life,
as though his cousin really were the superhero he said he was.
And it is thanks to this imaginary friend, this Neapolitan Superman and his not-so-super
powers that Peppino manages to face up to the vicissitudes of his family and start to
approach the adult world.
INTERVIEW WITH IVAN COTRONEO
Why did you choose to move from writing to directing and what was it like?
I’ve always written lots, but I’ve never been very far from film sets. Immediately after graduating
in screenwriting from the National Film School, I started working as an assistant director. Over the
years when I was concentrating on writing, I’d go to the sets of films that I’d written whenever the
director asked me to – and sometimes when they didn’t! But I had never considered the idea of
taking on the responsibility of directing until Nicola Giuliano and Francesca Cima chose to work on
the film version of my novel Kryptonite in her bag. From my meetings with them, as we were
discussing how to bring the novel to the screen, the notion started to emerge of me directing it.
That was the start of a long adventure made up of writing, preparation, getting a crew and cast
together, all of which just blew me away. It was adventure where I was never alone. I discussed
and debated every one of my choices with my producers, I had the good fortune to work with a
crew who weren’t just talented, but who believed in what we were doing, and with a cast of
performers who were involved in every moment of the production, even when they weren’t in
front of the camera. This experience for me was a sort collective adventure, in which it was much
easier for me to say “We have decided to...” or “We are going to...” rather than “I have decided
that...”.
How did you work on the screenplay, setting out from the novel you had written?
When I was asked to direct, I immediately thought that I didn’t want to do the screenplay on my
own. I asked Monica Rametta to help, someone with whom I’d worked before, and Ludovica
Rampoldi, with whom I’d never worked, but I’d read her screenplays and seen her films. Together
we tried to concentrate on the central theme of the novel: Peppino’s vision of the world,
Peppino’s relationship with his mother, with his father, with his mixed-up family and with his
supposedly superhero cousin. We simplified the minor stories, and worked on the characters,
trying to give each of them the chance, one scene at least in which they were able to express
themselves or express their own human truth. Monica and Ludovica helped me a lot in looking at
the material of the novel with a degree of distance and their contribution was fundamental.
How did you deal with the mise-en-scène of the ‘70s and particular your Naples of the ‘70s?
Setting a film in 1973 means it almost has to be a costume drama. Well, I did everything I could to
treat this film as though it really were not a costume drama. I wanted our ‘70s to be realistic, and
for the photography, the sets and the costumes to capture the modesty of those years, without
nostalgia or regret. Clothes that last longer than a season, pullovers passed on from one cousin to
another, children’s trousers with a darker strip at the bottom of the legs because they had to be
lengthened as the child grew, the shelves that were pretty bare, not much furniture, the heavy
plastic shopping bags. These are all real elements, not just memories. I tried to tell the story
without depending on the myth of the ‘70s, and to tried to salvage from those Neapolitan years –
that I remember as a child – that strange mix of high and low influences, of fashions that came
from outside or abroad and life in the neighbourhood, songs in English repeated without
understanding a word of them and fried pizza. What I was most interested from those years was
the possibility for change, the contrast between the new ideas of freedom and the sometimes
conditioning presence of the family. How many of those new ideas would really have been
achievable? Are determination and conviction all it takes to realise a dream, or do you just get
caught up in life, then? I wanted to describe a world that was torn, especially for women, between
the utopia of the future and the traditions of home and hearth, a world where, talking about it at
least, everything seemed possible. Luca Bigazzi with the photography, Rossano Marchi with the
costumes, Lino Fiorito with the sets, all helped me construct a realistic world, in which the
fantastic elements are combined with doors that squeak, low-wattage light bulbs, worn-out shoes,
glasses that don’t match on the table.
The film boasts a major cast; how did you find working with the actors?
I feel I have been very lucky with this first film of mine. I had the chance to work with actors whom
I admire, having seen and loved them in other people’s films. Valeria Golino had been in my mind
right from when I wrote the book: even before I knew it would be made into a film, Rosaria
Sansone in the novel had her eyes, her body, her voice. In my head, Cristiana Capotondi was the
young aunt I was looking for: happy and uninhibited, but with a hidden melancholy in her eyes,
that comes out only if you look closely. Luca Zingaretti, with his great talent and powerful
humanity and generosity, has brought to the character of Antonio the candour and
inattentiveness of a father in those years. Libero De Rienzo made his Salvatore a mix of audacity,
impudence and fear of life, everything I wanted. And Fabrizio Gifuni gave credibility and
bewilderment to Dr Matarrese. But the truth is I feel a real connection with all the actors in the my
film, from the first to the last, and if there’s something I’ve understood from this first experience
of directing it is that you cannot work with actors unless you love them deeply and sincerely. At
the first auditions, I met Vincenzo Nemolato, who plays Gennaro Superman, and I immediately
thought I’d found the person I was looking for. Monica Nappo, Lucia Ragni, Antonia Truppo,
Gennaro Cuomo, Rosaria De Cicco, Massimiliano Gallo, Sergio Solli, Nunzia Schiano, Tina
Femiano… Each of my actors, famous or not, with loads of experience or none, they all gave me a
really great gift by trusting in the story, trusting my direction and entering into the general idea of
the film.
There’s a child at the centre of the story. How did you choose him and what was it like working
with Luigi Catani?
Luigi was chosen from among more than 500 children. But I could say that he chose himself:
meeting after meeting, he imposed himself with his presence, his discretion, his glance. I
continued meeting with other possibles for the role of Peppino, but he had got into my head, with
his curls, with these big blue eyes that really seem to have come from his screen mother Valeria
Golino. When we met, he had that special way of his of going quietly and seriously into the corner
when he came into the room. He was like an old-fashioned child, with a sense of rigour and a
great, instinctive reserve. Before this film, Luigi had no cinema or television experience but he has
been singing for years in the choir of the San Carlo Theatre in Naples. We started reading the
screenplay and building up the character together. Luigi trusted me and I trusted him. After we’d
worked together for a while on the scenes, he met Valeria Golino. When he saw her for the first
time, he clung on to my arm, and without saying a word, he was asking me to help him. He
rehearsed a lot with the actors who onscreen would have been his mother, his father, his aunt and
uncle and his grandmother. He spent a lot of time with his cousin Superman, and whole
afternoons with Valeria Golino going round Naples, and when we eventually got on to the set, he
had become Peppino, with those broken glasses he is always pushing back up his nose. I just had
to tell him to start, he was already there, a part of the Sansone family.
Music has an important role in the film. How did you choose the soundtrack songs and the
other music?
Right from writing the screenplay, I knew I wanted music to have an important narrative role.
Those very songs were there right from the start of the work. They weren’t meant just to
accompany certain precise moments of the story, but to describe them. Rosaria’s loneliness as she
returns home, having discovered her husband is betraying her, even when I was writing it. could
only have been described by Mina’s voice singing Quand’ero piccola, the explosion of Peppino’s
imagination could only have been celebrated by the voice of David Bowie, the tender and poor
love of two young people in a cabin on the beach had and could only have the voice of Peppino di
Capri to accompany it, and I was so desperate for the family dynamics to be described by Iggy Pop
that I didn’t let the fact that Lust for life in reality came out three years after the film is set stop me
including it. These boots are made for walkin’ is present in the film in two versions, Dalida’s in
Italian, and a cover I asked Planet Funk to do, who are a group I’ve known and admired for a while.
I wanted a song from the past, but rearranged and made new, to accompany what we imagine
might be Peppino’s future life during the end credits.
The screenplay, the arc of the story, were born with these musical choices in place, and Pasquale
Catalano, with his talent and his sensitivity, built up a score that goes its own way and follows the
development of the characters autonomously, seeking to recreate their truth and development
through the original music. The final result is an only apparently bizarre mix of Italian pop and
masterpieces from Anglo-American music, immersed in a context which is that of the alleyways,
the human truth of the characters. A soundtrack that is free and full of different suggestions, that
tries to describe life.
VALERIA GOLINO. Rosaria
“You know, Peppì, they just felt like normal times...but I wasn’t thinking of anything.
Maybe that was happiness.”
Rosaria Sansone is on the island of Procida when she says these words. She is telling her
son Peppino about when she was young, about a time long ago in her life, which seems to
her, as she remembers it, to have been ‘happy’, an adjective that disturbs and frightens
her. Is that really what happiness was, the expectation of a possible future, a lack of
worries? Has happiness really passed her by without her even noticing? Rosaria is scared,
she has no answers, either for herself or for her child. But she adds a ‘maybe’ to her
conviction, a ‘maybe’ that is partly a hope. Before long, as the film unfolds, she will learn
that life can surprise you, that events, dramatic ones even, can pour down upon you, and
that there is no salvation but only a trap, an illusion, a dangerous comfort in nostalgia for
the past. As she speaks these words, life is already moving along with her, and offering her
a great chance of victory and redemption, as a reward for her strength. This perhaps is
Rosaria’s most important characteristic: her capacity to resist, to fight silently for the life
she would like. This is what makes her victorious, capable of winning against the time she
lives in, her circumstances, her beliefs about family. Not letting herself be trapped by
nostalgia will mean for her finding a new and unexpected form of happiness.
CRISTIANA CAPOTONDI. Titina
"Elio’s not lame, he just walks a bit funny."
This quote from my character Titina perfectly sums up her way of thinking: life, after all,
depends on how you look at it.
If Elio really is lame, it doesn’t matter; Titina is willing to convince herself it’s only a
question of habit that renders him different.
She manages to see beauty in everything, she possesses that typically Neapolitan spirit of
believing that whatever heaven sends us, it’s bound to work out.
Elio, in effect, has been sent to her by Providence, and Titina, who discovers here that she
is a lot more traditionalist than her uninhibited behaviour might suggest, cannot but
believe in that sign.
Titina lives the experiences of young people in the ‘70s, but at a certain point she will feel
more strongly the call of that destiny which ties her to all the women of her family, and to
all the women who represent that type of matriarchal femininity.
On the other hand, she has never really believed in a different or more comfortable future,
far from where she has grown up. She is Miss Levagnole, after all, a beauty queen who
knows she is only special among her own kind.
And Elio’s lameness is also a way not to kid herself on about a happiness that she does not
really believe can exist for her either.
LUCA ZINGARETTI. Antonio
"Listen, Peppì, why don’t you give me a hug like you used to when you were little, when it was like I was
the only thing you needed?”
The first thing I thought when I was studying the character of Antonio is that he inspired a
great tenderness in me. Which is a strange feeling to have for a character who, all things
considered, gets up to all sorts of nonsense.
If he were to be judged as a father and husband, Antonio’s character would undoubtedly
be roundly condemned. The best that could be said about him is that he is a distracted dad
and husband.
For this reason, it is important to remember that Antonio has to be read, seen, considered,
and, finally, judged, as a man of the ‘70s, that is, a time when bringing up children was the
mums’ task, and in which, for example, depression, especially female depression, was
generically dismissed as a nervous breakdown.
Their story is set in a time in which we still had no knowledge of adult and infant
psychology, and couples did not split up unless it was over something really important.
Antonio is a man who is living in a reality that is undergoing great change (which, like all
changes, is read first and best by the female universe) but he does not have the equipment
to deal with it.
To condemn him, then, would not just be wrong, but also unfair: Antonio lives and acts
according to the morality and education of his time.
His love for his wife is authentic and alive, as is his passion. But when she goes into crisis,
he is unable to understand her. His betrayal is an infantile reaction to feeling overlooked,
but also a reflection of the general notion that your relationship with a lover has nothing to
do with your marriage.
With Peppino too Antonio is an affectionate father. His emotional make-up as a man of the
‘70s do not allow him to correctly read Peppino’s malaise, but he does all he can to distract
and comfort him.
And when he is unable to, when he has tried everything he knows and has no idea what
else to do, his impotence emerges with a candour that is touching: it is he who asks his son
for a gesture that might stop time and grant him inner peace: "Listen, Peppì, why don’t you
give me a hug like you used to when you were little, when it was like I was the only thing
you needed?”
LIBERO DE RIENZO. Salvatore
“Why, do you not believe it? Look, if you don’t believe it, then it won’t happen... And we’ll be stuck here all
our lives... You have to believe it, Titì…’”
Salvatore Sansone smiles a lot. Behind his happiness, his nights out, the thousand girls he
chats up, he has but one desire, a powerful one: to feel special. He needs to believe that he
is destined for a different life, one that will see him and his sister Titina far from Naples, far
from Italy, in London maybe. In the Naples neighbourhood where they live, the brother and
sister are minor celebrities: they are whimsical, extravagant, almost outrageous. They feel
very modern. But Salvatore feels instinctively that their modernity might not get them past
the steps at San Pasquale. He needs to believe in his dream, and this faith is the only
weapon he has to make it possible: “If you believe, it really will happen”.
Very often, this is an illusion. Life will take it upon itself to mess up all the cards, his plans
for the future, and in exchange will burden him with a remorse that will make him
responsible and a lot more doubtful; someone who smiles less and is more of a man.
LUIGI CATANI. Peppino
“The boy, Sansone Giuseppe, known as Peppino, was born in Naples on 20 February 1964. The arrival of
Peppino immediately caused a huge upset in the family.”
When I found out I had been chosen from among so many children, I was really happy
because, after lots of auditions, I’d grown fond of Peppino, who, after all, is a bit like me.
With Ivan I had a special feeling right from the start, we liked each other right away!!!!
The first thing I did was try on the costumes. I was wearing the clothes for hours and hours
but even then the atmosphere was happy and pleasant.
A few days before filming began I was able to spend some afternoons with Valeria Golino,
my mum in the film, who, apart from being really sweet and beautiful, is also really sporty
and in fact she beat me at Kinect Sport !!!!!
The first day of shooting I woke up very early. We went to Procida and I was really nervous, I
was scared of messing it all up and letting Ivan down.
Instead, it all went well, everyone made me feel at ease, they helped me and, as if by magic, I
became Peppino.
I discovered this new world that knew nothing about, that of cinema and I was fascinated by
it. I really felt like I was Peppino; he is part of me now and always will be.
On set. the atmosphere was one of infinite happiness, everyone was calm, everyone was
working to try and give the best of themselves. Including me!
The most enjoyable scenes were those with Gennaro Superman, Vincenzo Nemolato. He’s a
really nice guy and we had a lot of laughs together.
I have to say I connected with everyone. When I did my scenes with Luca Zingaretti, I really
enjoyed myself as well, especially the scene with the chicks and on the huge fairground ride
in Piazza Mercato.
I was really curious to discover that world, I was fascinated by the sets, the microphones, the
cameras, the scenes shot from every angle, the dollies – the cameras positioned up high:
understanding how much work there is behind every film.
But what remains with me the most is the affection that I feel for all of them, the warmth I
felt: I feel like I’ve always known all of them, like I was with my own family.
Cristiana and Libero really felt like my aunt and uncle, I danced and sang without any
embarrassment because it seemed so natural to do it. And Valeria really felt like my mum.
So on the last day of filming – I cried a lot at the last scene because, once the adventure was
over, I was scared I wouldn’t see the likes of Ivan and my friend Bigazzi again.
i want to thank everyone for giving me the opportunity to play the role of Peppino and for
having it made it all seem like a big game.
Luigi Catani, 11 years old
FABRIZIO GIFUNI. Matarrese
“I imagine you’re asking yourself who I am. Well, my name is Enrico. I was born in Naples and I’m 42... I
graduated in medicine and then I specialised in psychiatry.”
Dr Matarrese is a man who is always being caught out by his own fragilities. He loses and
regains control on various occasions.
He lives, in this story, only within his own space, the few square metres that mark the
perimeter of his office, the steps required to reach the door from his desk and from there
to the couch. ‘My’ patient is Valeria Golino. In some of her previous lives has already been
for me mum and ghost (in L’uomo nero - The Cezanne Affair by Sergio Rubini), lover (in
L’inverno - Winter by Nina Di Majo), separated wife (in La ragazza del lago - The Girl By The
Lake by Andrea Molaioli), psychologist - I never met her - (in L’amore buio - Dark Love by
Antonio Capuano). There is, therefore, by now a sort of natural marvellous tradition of
finding ourselves, year after year, pretending to be other people. A safety net. And the
light of Luca Bigazzi that I found again 13 years on from Amelio’s film (Così ridevano - The
Way We Laughed). I mean, far too many certainties for Dr Matarrese at this moment of his
life. For him - it’s obvious - it could only end this way.
IVAN COTRONEO
Born in Naples in 1968, he graduated in screenwriting the Italian National Film School.
Among the screenplays he has worked on, we remember Mine vaganti - Loose Cannons by
Ferzan Ozpetek for which he received the Globo d’Oro, Io sono l’amore - I Am Love by Luca
Guadagnino, La prima linea - The Front Line by Renato De Maria and L’uomo che ama - The
Man Who Loves by Maria Sole Tognazzi.
Author and TV scriptwriter, he was behind the successful series Tutti pazzi per amore.
He has had four novels published by Bompiani: Il re del mondo (2003); Cronaca di un
disamore (2005); La kryptonite nella borsa (2007); Un bacio (2011).
He is the translator in Italy for the works of Hanif Kureishi and Michael Cunningham.
VALERIA GOLINO
CINEMA
2011
2010
2009
2008
2007
2006
2006
2005
2004
2003
2003
2001
2000
1999
1997
1996
1995
1993
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1991
1990
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1984
KRYPTONITE IN HER BAG (La kryptonite nella borsa) by Ivan Cotroneo
UN BAISER PAPILLON by Karine Silla Perez
SCHOOL IS OVER (La scuola e’ finita ) by Valerio Jalongo
DARK LOVE (L’amore buio) by Antonio Capuano
THE CÉZANNE AFFAIR (L’uomo nero) by Sergio Rubini
GIULIA DOESN’T DATE AT NIGHT (Giulia non esce la sera) by G. Piccioni e F. Pontremoli
QUIET CHAOS (Caos calmo) by Antonello Grimaldi
CA$H by Eric Besnéard
DON'T WASTE YOUR TIME, JOHNNY!(Lascia perdere Johnny) by Fabrizio Bentivoglio
THE GIRL BY THE LAKE (La ragazza del lago) by Andrea Molaioli
BLACK SUN (Il sole nero) by Krzysztof Zanussi
OUR COUNTRY (A casa nostra) by Francesca Comencini
OLE’! by Florence Quentin
TEXAS by Fausto Paravidino
MARIO’S WAR (La guerra di mario) by Antonio Capuano
36, QUAI DES ORFÉVRES by Olivier Marchal
ALIVE by Fred Berthe
SPY ZONE (San Antonio) by Frédéric Auburtin
TAKE ME AWAY (Prendimi e portami via) by Tonino Zangardi
FRIDA by di Julie Taymor
LAMPEDUSA (RESPIRO) by Emanuele Crialese
WINTER (Inverno) byNina Di Majo
HOTEL by Mike Figgis
THINGS YOU CAN TELL by Rodrigo Garcia
AGAINST THE WIND (Controvento) by Peter Del Monte
HAREM SUARE by Ferzan Ozpetek
SHOOTING THE MOON (L’albero delle pere) by Francesca Archibugi
SIDE STREET by Tony Gerber
ACROBATS (Le acrobate) by Silvio Soldini
ESCORIANDOLI by Antonio Rezza
LEAVING LAS VEGAS (Via da Las Vegas) by Mike Figgis
ESCAPE FROM LOS ANGELES (Fuga da Los Angeles) by John Carpenter
AN OCCASIONAL HELL (Una maledetta occasione) by di Salomè Bressiner
FOUR ROOMS by Allison Anders, Quentin Tarantino
RED WIND by Agneshka Holland
IMMORTAL BELOVED (Amata immortale) by Bernard Rose
LIKE TWO CROCODILES (Come due coccodrilli) by Giacomo Campiotti
HOT SHOT 2 by Jim Abrahams
PUERTO ESCONDIDO by Gabriele Salvatores
HOT SHOT by Jim Abrahams
THE INDIAN RUNNER (Lupo solitario) by Sean Penn
THE YEAR OF THE GUN by John Frankeneimer
TRACES OF AN AMOROUS LIFE (Tracce di una vita amorosa) by Peter Del Monte
LA PUTAIN DU ROI (La puttana del Re) by Alex Corti
TORRENTS OF SPRING (Acque di primavera) by Y. Skolimowski
RAIN MAN by Barry Levinson
BIG TOP by Pee Wee
FÜRCHTEN UND LIEBEN (Paura e amore) by Margarethe von Trotta
LES LUNETTES D'OR (Gli occhiali d’oro) by Giuliano Montaldo
LETZTER SOMMER IN TANGER (Ultima estate a Tangeri) by Alexander Arcadys
A TALE OF LOVE (Storia d’amore) by Citto Maselli
LITTLE FIRES (Piccoli fuochi) by Peter Del Monte
MY DEAREST SON (Figlio mio, infinitamente caro) by Valentino Orsini
SOFTLY, SOFTLY (Sotto sotto…strapazzato da anomala passione) by Lina Wertmuller
CRISTIANA CAPOTONDI
CINEMA
2011
2010
2009
2007
2006
2004
1999
1995
LA PEGGIOR SETTIMANA DELLA MIA VITA by Alessandro Genovesi
THE WHOLLY FAMILY by Terry Gilliam
THE PASSION (La passione) by Carlo Mazzacurati
FROM THE WAIST ON (Dalla vita in poi) by Gianfrancesco Lazotti
EX by Fausto Brizzi
I VICERE by Roberto Faenza
COME TU MI VUOI by Volfango De Biasi
SCRIVILO SUI MURI by Giancarlo Scarchilli
NIGHT BEFORE EXAMS (Notte prima degli esami) by Fausto Brizzi
CHRISTMAS IN LOVE by Neri Parenti
VOLEVO SOLO DORMIRE ADDOSSO by Eugenio Cappuccio
FORSE SI’... FORSE NO by Stefano Chiantini
IL CIELO IN UNA STANZA by Carlo Vanzina
VACANZE DI NATALE 95 by Neri Parenti
TELEVISION
2011
2009
2007
2006
2005
2004
2003
2001
2000
1999
1998
1997
1994
L’OLIMPIADE NASCOSTA by A. Peyretti
MERLIN by S. Kaptes
SISSI by X. Schwarzenberger
REBECCA LA PRIMA MOGLIE by R. Milani
I VICERE’ by R. Faenza
ORGOGLIO 3 by G. Serafini, V. De Sisti
JOE PETROSINO by A. Peyretti
VIRGINIA – LA MONACA DI MONZA by A. Sironi
ORGOGLIO 2 by G. Serafini, V. De Sisti
CLANDESTINI by P. Volson
LUISA SANFELICE by P. e V. Taviani
ORGOGLIO by G. Serafini,V. De Sisti
IO TI SALVERO’ by M. Caiano
IL GIOVANE CASANOVA by G. Battiato
COMPAGNI DI SCUOLA by T. Aristarco e C. Norza
LA CASA DELL'ANGELO by G. Gamba
IL CIRCOLO by F. Lazzotti
PIOVUTO DAL CIELO by J. M. Sanchez
PART TIME by A. Longoni
ANNI 60 by C. Vanzina
ANNI 50 by C. Vanzina
UN NERO PER CASA by G. Proietti
SPQR by C. Risi
ITALIAN RESTAURANT by G. Capitani
LUCA ZINGARETTI
CINEMA
2011
2010
2008
2007
2006
2005
2003
2002
2000
1999
1998
1997
1996
1995
1994
1993
1987
MOZZARELLA STORIES by Edoardo De Angelis
THE YOUGEST SON (Il figlio più piccolo) by Pupi Avati
OUR LIFE (La nostra vita) by Daniele Luchetti
WE BELIEVED (Noi credevamo) by Mario Martone
WILD BLOOD (Sangue pazzo) by Marco Tullio Giordana
MY BROTHER IS AN ONLY CHILD (Mio fratello è figlio unico) by Daniele Luchetti
TUTTE LE DONNE DELLA MIA VITA by Simona Izzo
OUR COUNTRY (A casa nostra) by Francesca Comencini
NON PRENDERE IMPEGNI STASERA by Gianluca Maria Tavarelli
ALLA LUCE DEL SOLE by Roberto Faenza
THE DAYS OF ABANDONMENT (I giorni dell’abbandono) by Roberto Faenza
KISS ME FIRST (Prima dammi un bacio) by Ambrogio Lo Giudice
TEXAS 46 by Giorgio Serafini
THE THEFT OF ST. PETER'S TREASURE (Il furto del tesoro) by Alberto Sironi
OLTREMARE by Nello Correale
L’ANNIVERSARIO by Mario Orfini
TWO KIDNAPPINGS (Tu ridi) by Paolo & Vittorio Taviani
REWIND by Sergio Gobbi
ARTEMISIA-PASSIONE ESTREMA by Agnes Merlet
I COLORI DEL DIAVOLO by Alain Jessua
LE JOUR DU CHIEN (Vite strozzate) by Ricky Tognazzi
CASTLE FREAK by Stuart Gordon
L’ANNO PROSSIMO VADO A LETTO ALLE DIECI by Angelo Orlando
THE PACK (Il branco) by Marco Risi
NO SKIN (Senza pelle) by Alessandro D'Alatri
MARATONA DI NEW YORK by Marina Spada
ABYSSINIA (Abissinia) by Ranieri Francesco Martinotti
E QUANDO LEI MORÌ FU LUTTO NAZIONALE by Lucio Gaudino
LES LUNETTES D'OR (Gli occhiali d'oro) di Giuliano Montaldo
THEATRE
2007
2008/2011
1997/98
1996
1995
1994
1993
1992
1991
1991
1990
SPINGENDO LA NOTTE PIÙ IN LÀ
reading from the book by M. Calabresi. By Luca Zingaretti
LA SIRENA from the short story by Tomasi di Lampedusa. By Luca Zingaretti
SEPARAZIONE (Separation) by Tom Kempinski. By Patrick Rossi Gastaldi
BODIES by James Saunders. By Patrick Rossi Gastaldi
CANNIBAL by R. Crowe e R. Zaijdlic. By Patrick Rossi Gastaldi
PRIGIONIERI DI GUERRA(Prisoners of war) by J. R. Ackerley. By Luca Zingaretti and Fabio Ferrari
TRE ALBERGHI by Baetz. By Tony Bertorelli
MARATONA DI NEW YORK by Edoardo Erba. By Edoardo Erba
TROMPE L'OEIL by Cagnoni,Camilli,Martelli. By Federico Cagnoni
PARTAGE DE MIDI by Paul Claudel. By Franco Però
CRIMINI DEL CUORE (Crimes of the heart ) by Beth Henley. By Nanny Loy
LA PAZZA DI CHAILLOT by Jean Girardeaux. by Luca Ronconi
ANTIGONE by Sophocles. By Franco Branciaroli
GLI ULTIMI GIORNI DELL'UMANITÀ by K. Krauss. by Luca Ronconi
1989/92
1989/90
1988
1987/88
1987/88
1985/86
1984/85
1983/84
TITO ANDRONICO (Titus Andronicus) by W. Shakespeare. By Peter Stein
TRE SORELLE (Three sisters) by A. Checov. By Luca Ronconi
THE FAIRY QUEEN by F. Pourcell. By Luca Ronconi
COME GOCCE SU PIETRE ROVENTI (Water drops on burning rocks) by R. W. Fassbinder.
By Marco Mattolini.
I VILLEGGIANTI by M. Gorkij. By Sandro Sequi
BENT by M. Shermann. By Marco Mattolini
LE DUE COMMEDIE IN COMMEDIA by G.B. Andreini. By Luca Ronconi
SANTA GIOVANNA by G.B. Shaw. By Luca Ronconi
TELEVISION
1999 2004
2002
2000
1999
1997
1995
1993
1992
1991
1990
Il commissario Montalbano by Alberto Sironi
Cefalonia by Riccardo Milani 2
Doppio agguato by Renato De Maria
Perlasca. Un eroe italiano By Alberto Negrin
Il segreto del tesoro by Alberto Sironi
La Bibbia: la vita di Gesù by Stuart Gordon
La Piovra 8 by Giacomo Battiato 1998
Kidnapping di Cinzia Torrini
Una questione privata by Alberto Negrin
L’ombra della sera by Cinzia TH Torrini
Il giovane Mussolini by Gianluigi Calderone
Una questione privata by Alberto Negrin
Il giudice istruttore by Gianluigi Calderone
LIBERO DE RIENZO
CINEMA
2011
2010
2009
2005
2004
2002
2001
1999
1998
ALL AT SEE (Tutti al mare) by Matteo Cerami
LE ULTIME 56 ORE by Claudio Fragasso
FORT APACHE (Fortapàsc ) by Marco Risi
BLOOD: DEATH DOES NOT EXIST (Sangue:la morte non esiste) by Libero De Rienzo
MUNDO CIVILIZADO by Luca Guadagnino
ROUND TRIP (A/R andata + ritorno) by Marco Ponti
GIOCO CON LA MORTE by Maurizio Longhi
SANTA MARADONA by Marco Ponti
À MA SOEUR! (A mia sorella!) by Catherine Breillat
A MIDSUMMER NIGHT'S DANCE (La via degli angeli) by Pupi Avati
ASINI by Antonello Grimaldi
PIU’ LEGGERO NON BASTA by Betta Lodoli
THEATRE
1999
1998
1996
UMANE GESTA by F. ANDREOTTI
MIO SANGUE by F. ANDREOTTI
I 4 ELEMENTI
UTOPIA
TELEVISION
2009
2007
2006
LA NARCOTICI by Michele Soavi
ALDO MORO by Gianluca Tavarelli
NASSIRYA by Michele Soavi
LUIGI CATANI
Luigi Catani is 11 years old and was born in Naples.
Kryptonite in Her Bag is his cinematic debut.
In 2011 he also appeared in the film Non parto, non resto the debut film of Elisa Fuksas.
Since 2007 he has been a treble in the choir of the San Carlo Theatre in Naples
VINCENZO NEMOLATO
CINEMA
2011
THEATRE
2011
2010
2009
IL CONVEGNO by Emanuele Valenti
IL SOGNO DEI MILLE by Maurizio Scaparro
IL SIGNOR DI POURCEAUGNAC by Emanuele Valenti
L’AVARO DI MOLIERE by Arturo Cirillo
FATTO DI CRONACA by Raffaele Viviani
FABRIZIO GIFUNI
CINEMA
2011
2010
2009
2007
2006
2005
2003
2002
2001
2000
1999
1998
1996
LA LEGGENDA DI KASPAR HAUSER by Davide Manuli
LET IT BE by Guido Chiesa
THE CÉZANNE AFFAIR (L’uomo nero) by Sergio Rubini
DARK LOVE (L’amore buio) by Antonio Capuano
BEKET by Davide Manuli
BRAVE MEN (Galantuomini) by Edoardo Winspeare
MISS F (Signorina effe) by Wilma Labate
THE SWEET AND THE BITTER (Il dolce e l’amaro) by Andrea Porporati
THE GIRL BY THE LAKE (La ragazza del lago) by Andrea Molaioli
FRATELLI DI SANGUE by Davide Sordella
MUSIKANTEN by Franco Battiato
MOVIMENTI by Serafino Murri e Claudio Fausti
THE BEST OF YOUTH (La meglio gioventù)by Marco Tullio Giordana
WINTER (L'inverno) by Nina Di Majo
EMPTY EYES (Sole negli occhi) by Andrea Porporati
PROBABLY LOVE (L'amore probabilmente) by Giuseppe Bertolucci
HANNIBAL by Ridley Scott
QUI NON È IL PARADISO by Gianluca Tavarelli
JOHNNY THE PARTISAN (Il partigiano Johnny) by Guido Chiesa
LA CARBONARA by Luigi Magni
FATE UN BEL SORRISO by Anna Di Francisca
UN AMORE by Gianluca Tavarelli
THE WAY WE LAUGHED (Così ridevano) by Gianni Amelio
VITE IN SOSPESO (BELLEVILLE) by Marco Turco
NO SPRING CHICKEN (La bruttina stagionata) by Anna Di Francisca
TELEVISION
2009
2008
2006
2005
C’ERA UNA VOLTA LA CITTÀ DEI MATTI by Marco Turco
PAOLO VI by Fabrizio Costa
L’ULTIMA FRONTIERA by Franco Bernini
LE CINQUE GIORNATE DI MILANO by Carlo Lizzani
ALCIDE DE GASPERI by Liliana Cavani
THEATRE
2010
2008
2005
2004
1997
1996/97
1996/97
1995/96
1994
1993/94
L’INGENIER GADDA VA ALLA GUERRA subject by Fabrizio Gifuni- directed by Giuseppe Bertolucci
I KISS YOUR HANDS – CATALOGO SEMISERIO DELLE LETTURE MOZARTIANE by F. Gifuni e S. Bergamasco
NON FATE TROPPI PETTEGOLEZZI by and with F.Gifuni, music by C.Picco
L’INGEGNER GADDA VA ALLA GUERRA, by and with F.Gifuni
NA SPECIE DE CADAVERE LUNGHISSIMO from P.P.Pasolini and G.Somalvico, by Giuseppe Bertolucci
PIA from M. Yourcenar, by Valter Malosti
ANTIGONE by Sophocles, by Theodoros Terzopoulos
IL RITORNO DALLA VILLEGGIATURA by C. Goldoni, by Massimo Castri
LE AVVENTURE DELLA VILLEGGIATURA by C. Goldoni, by Massimo Castri
LE SMANIE PER LA VILLEGGIATURA by C. Goldoni, by Massimo Castri
MACBETH by W. Shakespeare, by Giancarlo Sepe
ELECTRA by Euripides, by Massimo Castri
SONG
The song over the end credits is:
THESE BOOTS ARE MADE FOR WALKIN’
(Lee Hazlewood)
performed by Planet Funk
Criterion Music Corp
Published in Italy by: Cafè Concerto International srl
ORIGINAL MUSIC
The soundtrack of the film is by Pasquale Catalano. For Kryptonite In Her Bag he wrote:
LA FAMIGLIA SANSONE
GLI OCCHI DI PEPPINO
PRIMO SECONDO E TERZO
IL VIAGGIO DI ROSARIA
L’AUTOCOSCIENZA DI TITINA
SALVATORE AL RED INN
ROSARIA E ANTONIO
Musicians
Music composed and orchestrated by Pasquale Catalano
Musical coordination by Giuseppe Sasso
Piano: Fabrizio Romano
Glockenspiel: Antonio Caggiano
Clarinet: Armando Puggioni
Bass: Corrrado Cirillo
Drums: Riccardo Schmitt
Guitars: Pasquale Catalano
Amarcord Studio Orchestra conducted by Pasquale Catalano
Onda Nueva String Quartet
LIBRARY MUSIC
LUST FOR LIFE
(J.Osterberg – D.Bowie)
performed by Iggy Pop
QUAND’ERO PICCOLA
(B.Zambrini – F.Migliacci – L.Bacalov)
performed by Mina
STIVALETTI ROSSI
(Lee Hazlewood)
performed by Dalida
ZORBA’S DANCE
(M.Teodorakis)
performed by Amarcord Studio Orchestra
NUN È PECCATO
(U. Calise – C.A. Rossi)
performed by Peppino Di Capri
AQUARIUS
(G.MacDermot – J.Rado – G.Ragni)
performed by Luigi Catani
LIFE ON MARS ?
(David Bowie)
performed by David Bowie
Music Edition Indigo Film SRL
Soundtrack available on CD and digital release
INDIGO FILM
INDIGO FILM, founded in 1999 by Nicola Giuliano, Francesca Cima and Carlotta Calori, produces
documentaries, shorts and feature films.
In 2001 they produced the feature film, L’uomo in più - One Man Up, the first film by Paolo
Sorrentino, shown in competition at the Venice Festival.
Between 2003 and 2006, along with Fandango and Medusa, they made Le conseguenze dell’amore
- The Consequences Of Love and L’amico di famiglia - The Family Friend, Paolo Sorrentino’s second
and third films, both shown in competition at Cannes.
In 2004 they produced Apnea, Roberto Dordit’s first film. Distributed by Istituto Luce, with the
support of the CGIL, it was released in 2007.
In 2005 they made La guerra di Mario - Mario’s War by Antonio Capuano, shown in competition at
the Locarno Festival.
In 2007 Indigo Film was present at the Venice Film Festival with three productions: the
documentaries Il passaggio della linea by Pietro Marcello (in the Orizzonti Doc section) and
Bianciardi! by Massimo Coppola (in the Venice Days section), and the feature film La ragazza del
lago - The Girl By The Lake, Andrea Molaioli’s debut, selected for the International Critics’ Week.
The film won numerous awards including 10 David di Donatello Awards, 3 Nastri d’Argento and 4
Ciak d’oro.
In 2008 Indigo Film produced with Lucky Red Il Divo by Paolo Sorrentino; shown at the 61st Cannes
Festival, the film won the Jury Prize and the Prix Vulcain.
Among other awards, the film won 7 David di Donatello Awards, 5 Nastri d’Argento, 3 Ciak d’Oro.
It was distributed in many countries including France, the United Sates, Spain, Great Britain,
Germany, Greece and Australia.
In 2009 La doppia ora - The Double Hour, Giuseppe Capotondi’s debut with Filippo Timi and Ksenia
Rappoport was shown at the Venice Festival. The film won the Coppa Volpi for the best female
performance, the Premio Pasinetti for the best male performance and the Premio Arca Giovani for
the best Italian film. The film was a candidate for the 2010 David di Donatello Awards in the Best
New Director category.
Still in 2009 they produced the La bocca del lupo - The Mouth Of The Wolf a documentary by
Pietro Marcello, which won Best Film at the Torino Film Festival and the Caligari Film Award and
the Teddy at the Berlin Festival in the Forum section. The documentary later won a David di
Donatello Award and a Nastro d’Argento.
In 2010 they produced Hai paura del buio - Afraid Of The Dark Massimo Coppola’s first feature
film, shown at the Venice Festival during International Critics’ Week.
In 2011 they made the documentary film Questa storia qua on the life of Vasco Rossi, which was
shown at the 68th Venice Festival.
The same year they produced Il Gioiellino - Andrea Molaioli’s second film and, along with Lucky
Red, This must be the place, Paolo Sorrentino’s fifth film, starring Sean Penn and Frances
McDormand, shown in competition at the 64th Cannes Festival.
www.indigofilm.it

credits not contractual

Transcript

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