by Chiara Spagnoli Gabardi

‘Handmade Cinema,’ is a loving tribute to the craftsmen and artisans whose invisible hands help create the magic of cinema. The documentary written by Laura Delli Colli and Guido Torlonia, and directed by the latter, is at the Open Roads: New Italian Cinema Film Festival at Lincoln Center in New York.

Here is the exclusive interview with Guido Torlonia:

How did ‘Handmade Cinema’ originate?

Laura Delli Colli came up with the idea, and we wrote it together. The film came to life thanks to Louis Vuitton, that opened a store in Rome dedicated to cinema, within the former movie theatre Etoile. Vuitton discussed with Laura the possibility of making a film that would tell the story of Cinecittà’s artisans. And to continue in the footsteps of cinema, the brand provides scholarships to students of the Italian film school – Centro Sperimentale di Cinematografia – and has placed a small screening room, for 18 people, that screens short-films during the store hours.

How did you and Laura Delli Colli work on the storytelling?

We wanted to show how jobs can be passed on within the family, from parent to child. That is why we chose an actress, daughter of a great actor, to be the narrating voice: Chiara Mastroianni. We found out that Chiara’s first memory connected to film-making, was with her dad, on the set of the movie by Fellini. ‘City of Women,’ when she was eight years old. As I was searching for materials to prepare ‘Handmade Cinema’ I came across some backstage footage and found a little girl with Marcello Mastroianni, it was Chiara. I sent her the picture and she was overwhelmed because she had never seen it before. So we started from that image to tell the story from a child’s point of view, observing the backstage of movie-making.

Italy in the past excelled in film-making, thanks to the exceptional workmen, what changed through the course of time?

A decentralisation of Cinecittà. These workmen still stand as a reference point to major productions, with the directors who have the privilege of hiring them. Like Spielberg or Scorsese, who want quality products made in craftsmen's workshops. The problem is that in the past the entire film production would arrive in Cinecittà, where the workshops were. Today I believe the only workshop left is De Angelis – who makes statues, stuccos and sculptures – all the rest have moved elsewhere. For example the tailor’s shop of Tirelli has thousands of costumes in Formello. And others are scattered all over Rome.

What story struck you the most?

Probably the ones that I didn’t know already. Like the wigs of Mrs Rocchetti. She showed me all the heads made by Florentine artisans, all corresponding to famous worldwide known actors and actresses. Also Pieroni’s hat workshop, he worked with Spielberg on ‘Lincoln’ and also made the hat of ‘Pirates of the Caribbean.’ Many young people go to him to learn his art. Film director Ferzan Ozpetek recently shot some of the scenes of his new movie in Pieroni’s beguiling workshop. Italy has an incredible artisanal film tradition that just has to be exploited.

Is it important to show what happens backstage in order to promote film-making?

It’s crucial. I’m mainly a stage director, therefore I love everything connected to the preparation of a performance and to be able to tell what goes on backstage is very important. Fellini was theatrical in his storytelling: in the final sequence of ‘And The Ship Sails’ the camera reveals the set and where he is. Unveiling all that lies behind the making of a movie is important to make audiences realise how much is going on to achieve the final outcome.

How can the profession of movie craftsmen be revamped?

Young people should get in these workshops and learn something you wouldn’t apprehend on books or at university, but only practicing the skill directly, just as it used to be in the Renaissance’s workshops. It’s worthwhile since this activity nurtures your soul. Even Daniel Day Lewis took a year off from film-making to work with a cobbler in Florence to learn how to create handmade shoes. It must be tremendously exciting to see something you made with your own hands.

How does it feel to bring your documentary to New York’s Open Roads Festival?

The United States are giving me so much: I brought the film to L.A., then to Santa Barbara and also to Washington, at the Italian Embassy. Furthermore I was in New York a couple of months ago for a tribute to Fellini, ‘Caro Federico,’ at the Signature Theatre in Parshing Square: extracts of my play were read out loud by Edward Norton and Diane Lane. I’m so happy to be back in New York it always brings me wonderful surprises.

Here is the exclusive interview with Laura Delli Colli:

How was this film conceived?

It was all very casual. I came up with the idea and Guido introduced me to Luchino Visconti di Modrone who produced it. I had always been very sensitive to all the work that occurs backstage in the process of making a movie, as well as the crafts that are passed on from father to son. I wanted to make a book about it and Guido liked the idea so much that we decided to make it into a film The shooting took four intense days. Everything was very well organised and we used a really small crew. The major work was to convince the interviewees to tell their personal stories: they are all very shy and humble, and not accustomed to being in the spotlight. But what probably helped was that I knew them beforehand and had always been very concerned about them, through my work as a writer and journalist.

Does unveiling what happens backstage help remind the quality of Italian movie craftsmen?

Italy lived a golden age with the “Hollywood on the Tiber.” Film productions came to shoot in Cinecittà because it was economically convenient, as well as to taste Rome’s magical allure with “the sweet life” of via Veneto. Nowadays productions find greater advantage in shooting in depressed countries. Tornatore shot ‘Baaria’ in Tunisia, bringing some Italian artisans and using also some locals. The Lazio region and the city of Rome should try to make some policies to promote culture, in order to newly open the market for the very important Italian tradition of film-making.

Amongst the craftsmen’s accounts, which one struck you the most?

Surely the one of “Cinecittà’s Bernini,” whom we observed at work with his small sponge, as he moulded the polystyrene, as if he were a sculptor in the 1600. Another who stole our heart away was “Michelino,” with his tiny figure, he is an extraordinary painter and artist. Not to forget Fernanda Rocchetti, mother of Manlio, she was initially very coy and aloof at the idea of being interviewed and in the end she couldn’t stop talking!

Is there a chance that the younger generations will approach this profession?

That is what we hope. The kids that go to Pieroni’s workshop, to learn his craft, were children of a nearby upholsterer: they didn’t want to work with their father so they went to learn another craft. This often occurs with generational turnover, when young people don’t think it necessary to acquire their parent’s know-how. But whatever the craft, there is always great joy in seeing what you can make with your own hands. This is attested by the tailor that stitched Claudia Cardinale’s dress in ‘The Leopard.‘ Today she still keeps the picture of when she was just a little girl holding pins, as she teaches her pupils the art of tailoring. It’s wonderful to know how these skills can be passed on through time.

How does it feel to have your film at the Open Roads Festival?

I usually come every year to discuss the movies made by others, and this year I find myself as a film-maker! It’s quite a change: I used to sit amongst the audience and now I’m on stage, speaking. But I will soon go back to writing books and reviews. Besides, with Guido we would like continue to divulge Italian cinema together. We just have to find a different storytelling key.