ITALIANA - AIC Associazione Italiana Autori della Fotografia ...

AIC
La mia
La nostra è sempre stata ed è
una delle più belle professioni
del mondo, del cinema, in
quanto chi la esercita può
raccontare, dire, dipingere con la
luce, con le ombre, creando
inquadrature, composizioni,
sviluppando ogni idea, ogni tipo
di copione. E anche quando il
film non è ancora sonorizzato,
come all'origine, lo spettatore
avverte immediatamente
l'atmosfera, sia di una situazione
allegra, che di un funerale, di
una scena di morte, ecc. e
all'esecutore fa provare la magia
d'essere direttore della
fotografia.
Nella mia lunga carriera ho
avuto la fortuna di lavorare a
fianco di registi, produttori,
architetti amanti del cinema.
Che senza tante chiacchiere si
comprendevano reciprocamente
perché conoscevano a fondo il
copione, vivevano una vita
interiore intensa, dividendo coi
collaboratori idee, difficoltà di
realizzazione, ecc. In tal modo ci
si trovava in continua
concentrazione, aspettando solo
con ansia di vedere la proiezione,
che rivelava se si era riusciti o
meno a illuminare secondo le
esigenze di copione. Allora la
bacchetta del regista dirigeva
l'intera orchestra, mentre il
solista era costituito dal direttore
di fotografia, il primo violino.
professione
Noi direttori di fotografia siamo
gli ultimi a concentrare
attraverso l'obiettivo il lavoro di
tutti i reparti: dal costo del film,
Our profession is, and always has been, one of the greatest in the cinema
and, indeed, in the world, giving whoever makes it theirs the possibility
of recounting, communicating and painting with light and shadow,
creating and composing shots, interpreting every kind of script,
developing each single idea. Even when a film is without sound, as it is'
at the beginning, whoever sees it is able to pick up the atmosphere
immediately, whether they are watching a happy scene, a death scene, a
funeral or whatever, and it is then that we experience the magic of being
a Director of Photography.
During my long career, I have been lucky enough to work alongside
Directors, Producers and Set Designers who loved the Cinema. People who
understood one another without wasting a lot of words, because they had
studied the script in depth, were very active spiritually and mentally,
and shared ideas and problems involved in the realization of the film
etc., with their collaborators.
In this way, one found one's energies were always concentrated on the
Particular film, while one also waited anxiously to see it projected, when
t is we Directors of Photography who bring the work of all the other
departments together, via the camera lens, from the actual creation of the
budget, sets and costumes, to the good and bad aspects of the acting.
speed with which the film is realized, the taste with which the
images are created, and the correction of other people's errors and
oversight, are all our responsibility and depend on our talent, thus
"taking us the fulcrum of the film.
ai costumi, costruzioni, pregi e
difetti della recitazione.
Tutto viene affidato alla nostra
abilità facendo di noi il perno del
GABOR
POGANY
"Piano meccanico"
We are able to make a leading lady, who is no longer in her prime, look
younger, and fit four days shooting into one. If the Director's nervous, we
play nursemaid to him. We treat everyone with diplomacy, thus
obtaining the best from them and allowing them to feel that they have
successfully contributed to the realization of the film.
Nowadays, unfortunately, it has become more and more difficult to work
in the above way, as there is a great influx of failures into the cinema,
people from other business — jacks of all trades, and masters of none —
who have suddenly decided to enterfilm production, but who rarely have
any understanding of the business.
With the supersensitive emulsions that are available nowadays, anyone
can shoot a film, or become a Director of Photography. When I think of
how much work I had to put in to creating the photography for some of my
films (I saw one of them onT.V. a few Sundays ago, made as far back as
1942, and on which Federico Fellini, Zeffirelli, Maselli, Franco Rossi,
Bolognini etc., worked as "assistants")! And it is in this same way, after
years of hard work alongside our great cinema maestros that people like
myself, Tonino Delli Colli, Nannuzzi and others have succeeded in
becoming number one in our profession.
The incredible number of people pouring into the cinema astounds me,
and not only do I wonder where they all come from, but also where they
learned their profession!
Their first film may be hailed as a miracle, but the second is usually a
flop, and they are obliged 10 change professions — thank God!
I don't want to appear nasty, neither do I wish to name any names; but I
will go asfar as saying that having a famous father is not enough! When
I see these young people making films, which turns out to be flops, I am
even more convinced that there is nothing left to invent in this world!