The fame of Gabriele Salvatores is international: he directed movies of importance, such as “Io non ho paura”, “Siberian Education”, “Quo Vadis, Baby?”, “Mediterraneo” (thanks to whom he won an Oscar in 1991 for Best Foreign Language Movie) and “The Invisible Boy”. With the second chapter of this title, in the company of the actor Ludovico Girardello, who plays the protagonist of The Invisible Boy, Gabriele came at the Giffoni Film Festival to meet fans and to answer questions about his brilliant career.
The main theme of the press conference is “The Invisible boy- Second generation“, whose output is expected to start at 2018: the director says that this movie is going to be a little darker than the first one, as the protagonist, Michele, has grown up and has “passed the shadow line”, as Conrad would say. He’s also experiencing a great sense of guilt and conflict between his mothers, the biological and the adoptive one. While the first movie presented a more linear story, this second one will be following more the emotions of the boy. Ludovico, in this regard, says: “I had confronted the first movie as a game, instead I dealt with this one much more seriously.”
The power of Michele, invisibility, was not randomly chosen: there is an exact will to narrate what the Web is not able to fully express, being only “a photo of reality”. This is the strength of cinema, which can make the best of this concept following Plato’s dictates in believing that ‘simple shadows might actually be people’. Everyone, in the opinion of the Director, experiences invisibility and its meaning, a feeling experienced especially by the younger characters. It is precisely this feeling to be represented in the film: while in the first chapter Michele discovered his power, he will now have to learn how to control it. “The emotions of Michele and Mine have mixed several times during the production -Says Ludovico- and they must be taken individually to be fully understood.”
Then he speaks about the sci-fi genre in Italy, a genre loved by the director, and the difference between this film and “Nirvana”, released 20 years ago: “At the time, we didn’t have all the technology we have today. In this last film, there were almost 700 digital interventions and we used, for the first time in Italy, a technique that allows recreating characters and scenographies in 3D: in some scenes, there is the real actor while in others there is his digital copy. “Would it be possible to match the American production in Italy?” Technically, we would have no problems doing that, but it all depends on the television networks: they should have fewer concerns betting on that.”
Salvatore continues by saying: “In cinema exists the necessity to be sincere and the responsibility to follow your own gaze”; Movies, in his opinion, unlike reality, shouldn’t try to laugh off fear, but rather they have to represent it convincingly, in order to make people able to deal with it: “You have to go beyond realism and it is precisely for this reason that you need emotions”.
Thank you Mazda Italia for the Ride!