TORINO IS THE ITALIAN CITY OF CINEMA,Cinema as a tourist attraction in special itineraries, created within the ‘Torino Città del cinema 2020’ program, to discover the locations of famous films. It is the ‘Girando per Torino’ program: twenty stations for as many films, from Cabiria to Divo, from War and Peace to Santa Maradona,Deep Red ,The Italian Job in which to watch videos related to the films told by the historical conductors of the Hollywood Party on Radio Rai, Steve Della Casa and Efisio Mulas. An initiative in collaboration with the National Museum of Cinema and the Turin Piedmont Film Commission.
NOW IS EVERYTHING is the first feature of Riccardo Spinotti (son of the beloved Cinematographer Dante Spinotti ASC AIC) and Valentina de Amicis ,the movie will be officially presented on 28 November at 37° TORINO FILM FESTIVAL and is also premiered at 23° Pimedate Ööde filmifestivalStarring Sir Antony Hopkins,Ray Nicholson(son of Jack Nicholson) The A LIST Crew show Dante Spinotti ASC AIC as Cinematographer & at Costume dept. Colleen Atwood (Public Enemies and Manhunter).”Riccardo Spinotti (1986) was raised in both Italy and in Santa Monica, CA, USA. He attended NYU for Art and Sciences before joining the prestigious AFI (American Film Institute) in Los Angeles, where he graduated as a director in 2012. He has directed several short films including his thesis that was selected and screened at the Directors Guild of America (DGA) AFI event in 2012. With a passion for photography, he has worked both in the camera department and in production on several feature films. Valentina De Amicis was born in Italy in 1979. She graduated in 2004 from University of Rome La Sapienza in Film Studies. Since 2006 she has worked as Assistant Director between Los Angeles, New York, and Rome on numerous films, commercials, and television including Woody Allen’s film “To Rome With Love”. In her directorial debut, this serves as the first time director pairing for Spinotti and De Amicis.
The interesting soundtrack is composed by the talented Vidjay Beerepoot,I have got my ticket for the Torino Film Festival 30th Nov.2019 show and I have High Hopes.
I’m just cross my sight to them and suddenly I’m addicted to their beauty and talent , MAYA RAY THURMAN HAWKE ANA DE ARMAS & GRETA FERRO
GUSMANO CESARETTI IS IN HIS NATIVE TOWN PROCARI(LUCCA) FOR A UNIQUE EXHIBITION; FROM 24 MARCH TO 27 OF MAY 2018 WE CAN ADMIRE HIS OUTSTANDING PHOTOGRAPHIC WORLD LINKED TO CINEMA INDUSTRY, FONDAZIONE LAZZARESCHI OFFICIAL LINK
I’m one of those audience that stay SIT and read all the movie end credits so since Michael Mann’s THIEF,I was younger and in full VHS era, his noble and “FROM other times” name credited often as Visual Consultant hit my interest, so in the years I understand who Gusmano is and finally I understand why I truly LOVE a certain kind of cinema . So if matter of LOVE I hope to meet him one day for shake hands and have a great day.
ANOTHER VIDEO-GIFT FROM A OLD VHS TAPE I OWN , A RARE INTERVIEW FROM BBC CLOSE UP MICHAEL MANN’S CHOOSES HIS FAVOURITE MOMENT IN CINEMA,RAUL WALSH’S WHITE HEAT AND ELIA KAZAN’S EAST OF EDEN, VIDEO PRODUCED BY NICK FREAND JONES 1995 BBC.ENJOY!!
What’s The Best Professional Advice you’ve received?
BILLY DICKSON, ASC
Stay true to Yourself. When Everything is crazy around you and you feel like you’re being forced into making all the compromises,do what is right for you and make the compromises you can live with.In the end,what people see on the screen is what they remember you by.
PAUL CAMERON, ASC
Invest in yourself, and if you ‘re not willing to risk everything,then don’t bother doing anything.
SALVATORE TOTINO, ASC
The Advice I got the first day I worked in the film business: Always be five minutes early to work, never five minutes late.But more importantly, live on the edge when it comes to your photography–Take risks.Put your ideas on film and fall down a few times; it will make you a great filmmaker.
RENE OHASHI, ASC,CSC
Have a clear vision, design and objective for every scene. Then, by lighting with your instincts along with your intention and setting you own level of excellence, you will find satisfaction.
FRED ELMES, ASC
It’s the director movie.The Director is always right.
JOHN SCHWARTZMAN, ASC
From my grandfather, Carmine Coppola: What you do with your non-working time is more important than what you do with your working time.
THOMAS A. DEL RUTH, ASC
From Jordan Cronenweth: ‘Minimize compromise,be prepared for rejection, and save your money’
CHARLES MINSKY, ASC
I’m not sure it’s the best advice,but when I first began working as a camera assistant , Joe Ruttenberg, ASC lived next door.He took me into his house one day and showed me his two Academy Awards and told me to become an editor because they had more control on his art than he did.It did not deter me, but it made me aware that I wasn’t in complete control of the finished product.It’s a lesson I’m still learning.
DEJAN GEORGEVIC, ASC
Lee Rothberg’s Mantra :’ Keep Calm,Cool and collected at all times’
JIM DENAULT, ASC
From Tim Beiber: ‘ Show up early,don’t sit down,and act like you give a shit.’ It’s easy to remember and has far-reaching implications’
PHEDON PAPAMICHAEL , ASC
Roger Corman used to tell his young directors to sit down on an apple-box whenever they got an opportunity.I always try to pace myself through a long shoot;I see a lot of folks burn out before the film is done.
FRANK B.BYERS, ASC
From my agent: ‘Be the happiest guy on set.’ He was right
To Be Continued… –つづく…
End of troubled year,so Let me does some Random Considerations..If I’m not wrong somewhere(American Cinematographer Vol. 89 Issue 5 Kink and the City By Jon Silberg) I read that “my” DANTE SPINOTTI A.S.C-A.I.C for the feature DECEPTION used older Super Speed primes lenses over modern HD digital camera(at that times Panavision Genesis ) and modern primo lenses over classic super35 film camera like ARRI or Panaflex..so I used this tips,among the many that he does in every his interview, for my gear using classic/vintage Pentax SMC A Manual Focus lenses(50mm f 1.7- 50mm f 1.4) over my digital APS-C Pentax SLR and I get , sometimes with the beauty of some difficult, OUTSTANDING results,working at 50mm full frame lenses(75mm if compared to Pentax APSC DSLR System 1,5x) ;last hardly I will pass to full frame ,not for my pocket ,my computer and skills.Check My Flickr
Then I was able to recover a 1984 RICOH XRP 35mm film camera mounting a Ricoh 50 mm lenses f 1.7 for understand what Quentin Tarantino and other great Directors are keeping alive in to cinema industry,the use of film,to be honest as just not pro in that days is quite a mess develop films and scan for obtain nice prints (prints on photographic paper/media is the where everything must go) however the organic feel is so fascinating ,and I could understand why they don’t quit it,but with my digital gears set as I mentioned before I can really deal the same great digital photographic meaning specially for see in to the darkness…
So less than any hateful Digital Intermediate speech I’m not telling that IF they had used ALEXA 65 with Vintage Ultra Panavision lenses they could achieve a better THE HATEFUL 8(Upgraded 2017: Dante Spinotti ASC AIC is Testing in Pre Prod for Marvel’s Ant man and the Wasp ALEXA 65 With Anamorphic and Sperhical Classic Lenses),because this feature under the great ROBERT RICHARDSON A.S.C. is shot at Anamorphic 65mm film format with Panaflex using tons of KW through a Classic Hollywood Lighting and is not like the REVENANT shot by the beloved EMMANUEL “CHIVO” LUBEZKI A.M.C-A.S.C (using Alexa HD cameras and classic Panavision Anamorphic C Series Lenses with ONLY available ambient-practical lighting),so these western movies are in to a great beautiful confrontation..however this is not my business,are just random thoughts for say in the media “fight” lenses could make really the difference and in this case Vintage Lenses Rules.
PLEASE TAKE A TOUR ,SUPPORT MY FRIENDS FOR THE NATIONAL CAMPAIGN ON THE REDUCTION OF SEISMIC RISK.
Emilia earthquake is a collective made up of writers, directors, independent producers, actors, technicians of the sector from the region, which will operate a zero budget and without any public funding.
The project is to collect the eyes of creative Emilia in films that have come together to describe the “inside” the experience of the earthquake.
The idea is that the film is the most diverse possible: short films completely independent from each other.
In the embodiment, the works may have in common location, actors and working groups, but directing and subject should be separate for each project.
The film Earthquake Emilia will be completed by 31 December 2013. The shorts must be submitted no later than this term, to allow proper completion of the project.
Any proceeds of vision, dvd sales, rights, etc., will be donated to the earthquake-hit areas.
The initial goal set by the Collective is to get to 10 authors, 10 stories, 10 short films.
Only at the end will be possible to assess whether it has been possible to achieve the goal, since the project is a work in progress, subject to change, to deal with problems, obstacles, news and turns.
THE WINNER IS
Since 2008 – Torino Film Festival, un set su Flickr.