Arrivederci amore, ciao (IT)

Directed by Michele Soavi
Rome, 10th and 23rd August 2005
Making of directed by Mario Canale

Michele Soavi – Director
I felt like working on this project because I have always liked fables, which is what this story is, since we are talking about our country. Our country is a big toy-store —we have Pinocchio, the Cat and the Fox, the Turchina fairy¬— so this is a zombie movie; eople disappear and seem lost forever but later come back as ghosts. This project was rather risky, for it deals with people abusing one another or trying to kill one another, which makes it difficult to find whatever humanity they have left. However, they are all human, have families, eat, sleep, and rob. This is a snapshot of our society.


Conchita Airoldi – Producer
We are at the beginning of week 7 —on eight plus one week shooting in Columbia, since the film starts in South-America because the main character, a terrorist, lives in Nicaragua and participates to the Sandinist guerilla. The total cost of this film is € 4,3M. I managed to get the French company Wild Bunch involved very early on. I showed them the book and no sooner had they read it than they told me they wanted to either co-produce the film or handle international sales —for that matter, they gave us quite a nice garanteed minimum as sellers. Then I relied on Italy and asked for a garantee fund; it took some time, because of the new law, but I eventually got it, after which Rai Cinema joined us as co-producer and broadcaster. I think Mikado will start distributing the film at the end of February or the beginning of March.


Gianni Mammolotti – Director of Photography
This feature being a noir, sometimes light had to vanish and turn into darkness. We used super 35mm so the atmosphere is crucial, which is why I really focused on it. The actor is generally the last thing towards which I point the light; we sometimes use Kinoflop, that is, fluorescent lights. Michele likes 360° so can see everything. Even though the lighting can seem vague, this is precisely what gives character to this type of movie; the light is not overworked but imprecise and therefore very realistic. In fact, moving characters do not need precise lights anymore, for everything starts moving with them, up to the smallest shadow under their eyes or the dimmest light…When everything is moving, light is what counts most, unless you modify this.


Alessio Boni – Actor
This is a genre feature, an action noir which I reckon is really tough and rough and sometimes mercilessly blunt. I was not interested in playing an archetypical evil character so we tried to make him more ambiguous and thus humanise him. It may sound absurd, but I believe every man, even the cruellest, who has just killed someone, still relates to humanity through his family and his love for his children. We invented ways to convey this schizophrenic duality which gives the characters a fascinating quality. The difficulty of Giorgio Pellegrini is precisely this humanity which persists as if hanging on to a transparent umbilical cord. Daily life gets in his way so he tries to jump over obstacles or ignore them but in fact keeps falling like a destructive avalanche which gets bigger and bigger until it crashes in a valley of perdition with no hope to ever get out of it. He has no willpower left after leaving Nicaragua —an extreme decision, a mad attempt at regaining independence. I am not trying to justify what he does, but his complete madness fascinates me as much as it confuses me.


Isabella Ferrari – Actress
Flora is one of the most beautiful parts in this movie. She is a provincial lady who runs a shoe shop —although I don’t think this really matters. She ends up selling her body to pay off her husband’s debts. She is a sacrificial lamb or, as Soavi calls her, an angel. I am glad this director who has esteem for me sees me like this. He is brave, creative, and surprises me whenever I get to the set. I have always respected Soavi, for he is straightforward and has this remarkably accurate vision which is what most amazes me in a director. I accepted this part because I really liked Carlotto’s novel and thought that Soavi’s art could but enhance it. There are many reasons behind this noir.