IT Italian Trade - Volume 2 Issue 3 - Italy-America Chamber of ...

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.it italian trade .14 Luigi De Laurentiis Trovo che sia di vitale importanza cominciare a capitalizzare su un mercato così grande come il Nord America. E' una grande opportunità per poter capire e migliorare l'approccio di un potenziale pubblico americano di fronte ad un prodotto come il nostro. Con "Manuale d'Amore", uno degli incassi piu' alti della stagione 2005, siamo riusciti a venderlo in ben 11 paesi. E' stato un bel traguardo e soprattutto un film in piu' che e' riuscito a sconfinare le barriere italiane. Il tema dell'amore, ha permesso al film di diventare universale e di riuscire a colpire un pubblico di culture diverse. Quest'anno avete scelto Miami come meta delle "Vacanze di Natale" piu' attese nei cinema italiani. Dal 1983 questa commedia all'italiana riscuote un enorme riscontro di pubblico: quale pensa sia il segreto? Come lei ha ben notato abbiamo scelto Miami per le riprese del nostro prossimo film di Natale. La scelta non è stata casuale ma è uno dei primi segreti per creare la formula che ci permette, dal lontano 1983, di essere ai primi posti delle classifiche del cinema italiano. Location, location, location è la prima preoccupazione che di solito ci chiediamo verso la fine di Novembre e che continua a ossessionarci fino a fine Gennaio inizi di Febbraio. Ogni anno abbiamo scelto le location che piu' vanno di moda in quel preciso momento. Questo diventa uno dei primi elementi scatenanti per destare interesse in un pubblico sempre piu' esigente e che ha soprattutto voglia di sognare in quelle due ore di buio e divertimento generale. Un'altra caratteristica di successo è sempre stata di avere nel film delle guest star importanti. Tra i nomi piu' importanti dei film passati: Danny De Vito, Cindy Crawford, Leslie Nielsen, Luke Perry, Ronn Moss. Un'altra grande caratteristica è la colonna sonora dei nostri film. Ogni anno facciamo una scelta ben studiata a tavolino di tutte le hit del momento. Spesso scegliamo le hit dell'estate passata alternata alle hit piu' in voga sotto il periodo natalizio. Questo diventa un impegno economico non indifferente ma diventa un valore aggiunto per il nostro pubblico. L'arma piu' importante è stata investire sull'immagine di Massimo Boldi e Christian De Sica affiancando loro ogni anno comici di tutte le età e livello in modo di rinnovare la formula del film di anno in anno. �
Luigi De Laurentiis: Italian Cinema Suffers of Provincialism Luigi de Laurentiis directs the production company Filmauro in joint hands with his father. He was recently in Miami for the shooting of his next film "Vacanze a Miami" (Holidays in Miami). We took the opportunity to have an interview with him and discover what his opinions about the Italian cinema are. We couldn't find a better conversation partner! As a successful producer, what is your opinion about the steps to undertake in order to promote Italian cinema abroad? I think that the Italian cinema and its production don't succeed enough in being distributed internationally for the simple reason that we are very often confronted with a deep ignorance and provincialism. I believe that the attitude Italian actors have in often refusing to promote their own movies is absurd. Frequently their first request is to limit on the contract their presence in promotional events. This explains how nowadays Italian cinema misses the key factor: the marketing. It is a very complicated word which sounds very difficult and strange to many. How many stars are there in Italy? Is it possible to define who they are? It is very difficult to answer. In Italy stars hide and nobody takes care of their image. This is a very serious problem which doesn't allow the Italian audience to grow fond of Italian actors and fantasize about them instead of Hollywood stars. If it is already difficult to make oneself noticed in Italy imagine abroad! Another problem in Italy is that few directors speak other languages than Italian and very few speak English. Moreover, Italian screenplays are quite difficult to export because they are so very linked to the Italian culture. There are cultural barriers that very often prevent our production to travel to other countries. Fashion wise we have succeeded in exporting our style everywhere, why can't that happen in cinema? The cinematographic artist is an animal that when left alone can become quite harmful and dangerous to himself, creating insuperable fences for the films which end up being trapped in their own country. I believe in Italian cinema and its potential. First of all, it would be extremely important to create a cinema school that has the infrastructure and most of all the professors in order to have a future generation of screenplay writers, actors, directors of photography etc. Going back to what I said previously, actors should be happy and willing to promote their movies. They should take care of their image and consequently create a star system that would allow the Italian cinema to dominate the American and foreign production, as it already happens in France for instance. It would also be important to limit the screenings of foreign production and give the Italian audience the desire to see an Italian film. Only by solving these problems we could start thinking to a healthy economy of Italian cinema, with higher boxoffices on a national level. This would give us the possibility to have larger aims, on an international level, which is a dream we haven't dreamt in a very long time. Many Italian Film Festivals are organized every year in several cities in North America. How important are they for the Italian cinema? I haven't had the opportunity to attend to many Italian Festivals in the US but I firmly believe in the exporting of our films and in the quality we can reach. I think it is very important that we start investing in a large market as the American one is. It is a great opportunity to understand the American audience and better our approach to it. With "Manuale d'amore" (Maunual of Love), one of the highest box-office of the season 2005, we succeeded in exporting in 11 countries. This was a great success especially because it was able to go travel beyond the national borders. The theme of love made it a universal movie which has been able to raise the interest of different audiences. This year you chose Miami as the setting for the eagerly awaited "Christmas Holidays". Since 1983 this Italian comedy is very successful and appreciated: what is its secret? As you have certainly noticed, we chose Miami for the setting of our next Christmas film. The choice was not made randomly and is part of the secret formula that makes these movies successful since 1983. Location, location, location is our first priority. This question usually starts obsessing us around the end of November and continues through the end of January beginning of February. Every year we choose the locations that are the most in fashion at the moment. This is the first element to raise the audience's interest, as it fulfills their wish to dream of another life for two hours while sitting in the dark. Another element of success is to have important and famous guest stars. Among the most famous names are Danny De Vito, Cindy Crawford, Leslie Nielsen, Luke Perry, Ronn Moss. A further important characteristic is the soundtrack of our films. We always choose the biggest hits of the moment. Very often we choose the hits of the summer, and alternate them with new songs of the holiday season. To have these songs is very costly, but it adds something that is very important for the audience. Last but not least, the most important thing has been the investment in the image of Christian De Sica and Massimo Boldi by lining them up with comic professional of all ages and levels in order to renovate the formula of the film every year. � .15 .it italian trade
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