yearbook 2010/11 - The European Film College

eality, which is to be found in the lives of ordinary people, and which is excluded from
ordinary drama. And every once in a while you have to have a neorealistic movement
to bring that in, because for many reasons most writers, distributors and investors
don’t want to tell about the working people’s lives, because you don’t leave
the cinema feeling happy – because, you know…life is hard. We like
to avoid those kinds of stories, we want to talk about dramas,
falling in and out of love and jealousy…which is not to be excluded
either. But it has excluded, by the very nature of the way the business
works, the stories about very ordinary people, because it’s the thought
that ordinary peoples lives are boring.
To see neorealism as a total answer is limiting. To see it as a counter
to what the industry proposes and prefers to show is very necessary.
It’s very necessary to go back into the streets and into the lives of
ordinary people.
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neo r e a l i s m – ta k e t h e f i l m i n t o t h e s t r e e t s||fi n a lCu t 2011