ITALIANA - AIC Associazione Italiana Autori della Fotografia ...

AIC
GIUSEPPE
ROTUNNO La
libertà di
lavorare correttamente
It is fundamental, necessary and, indeed, essential that the conditions
are created to permit us to continue with our work after the direct
recording is finished, that is, after we've finished shooting the film.
Because our work is not strictly limited to the shooting, as is generally
thought, but also has its function, is further developed, in the laboratories
— where, I would like to point out, we have access out of habit and due to
the esteem in which we are held by the technicians, but not by Law.
However, it should be our right to have access to the laboratories, as it
should also be our right to attend showings of the films we work on, in the
cinemas. In fact, in order to project one of our films, a cinema should
possess all the technical equipment necessary to reproduce it exactly as
it was created
I believe this to be of fundamental importance, and I think the only way
we can obtain the above right, is by presenting petitions to Parliament:
because we workers can only make our requests to Parliament through a
government commission, and ask for a law or decree to be drawn up that
would establish that the director of photography is also the owner of that
part of the film which is rightfully his: the photography.
As the photography is a work that he has created, and he has the right to
defend it from any form of misappropriation.
It is the director of photography's right to demonstrate to the legislator, the, the
politicians and artistic personnel, that the photography is a work created
by him, and that subsequent operations carried out out without due care
and in haste, can be extremely damaging to him
This should be granted to us under copyright Even though we are not the
authors of the actual film, we are the authors of the photography which is
an integral part of that film. A fundamental part, in fact, as the film is
realized and distributed in the form of images created with light. And
E necessario, basilare,
essenziale che si creino le
premesse per poter accedere ai
nostri posti di lavoro anche dopo
la presa diretta, anche quando
cioè si sia terminato di girare il
film. Perché il nostro lavoro non
si limita alla sola ripresa, come si
suole pensare, ma ha invece un
suo essere, un suo sviluppo
anche nei laboratori dove,
insisto, abbiamo accesso per
consuetudine e stima da parte
dei tecnici, non per diritto
acquisito.
Dobbiamo invece potervisi
recare per un nostro diritto,
come per un nostro diritto
dobbiamo poter assistere alle
proiezioni nei cinema. Una sala
cinematografica infatti per poter
mostrare al pubblico un nostro
film deve possedere tutti quei
requisiti tecnici che la rendono
adatta a riprodurre in modo
esatto il nostro lavoro.
Questo io lo trovo fondamentale,
e penso che i meccanismi per
realizzare tale diritto siano
soprattutto petizioni
parlamentari: perché solo le
commissioni parlamentari
danno modo a noi lavoratori di
accedere al Parlamento per
chiedere una legge o un decreto
che stabilisca che il direttore di
fotografia è il proprietario anche
lui della parte di film che gli
compete, "la fotografia". Perché
la fotografia è il suo lavoro ed
egli ha il diritto di difenderla
dalle manomissioni.
Il direttore della fotografia ha il
diritto di dimostrare sia al
legislatore, sia ai politici, sia agli
artisti che quello è il suo lavoro,
e quanto egli venga danneggiato
da operazioni successive
trascurate o affrettate.
Questo costituisce il nostro
diritto d'autore. Noi infatti non
siamo autori del film, ma della
fotografia che è parte integrante
del film stesso. Parte
fondamentale perché il film
viene rappresentato e distribuito
sotto forma di immagini create
per mezzo della luce. E ciò
anche se il nostro contributo
all'immagine non è esclusivo e
vive con il contributo di altre
specializzazioni, dallo
scenografo, al costumista, al
truccatore, ecc.
È comprensibile che il
proprietario effettivo del film
possa gestirlo a suo piacimento,
ma garantendo però la difesa di
quei valori fotografici, tonali,
cromatici, e tutte le atmosfere
create con densità luminose in
tutta la gamma espressiva che la
storia necessita. Nello stesso
interesse del proprietario del
film, soprattutto nel suo
interesse, credo, poiché una
volta assunto un professionista
di un certo livello cui egli ha
even though we are not the sole creators of the image, in that we
collaborate with the set designer, costume designer, make-up artist etc.,
the above is still true.
It is perfectly acceptable that the owner of a film should, in effect, be free
to distribute it the way he sees fit but, at the same time, undertaking to
defend its photographic, tonal and chromatic values, and various
atmospheres created with different densities of light to express the entire
range of feelings necessary to the story. This is also in the owner's
interest: above all, I believe, it is in his interest, because once he has
engaged a professional worker of a certain level whom he believes
capable of achieving a particular result and certain quality, he should
not then put this professional worker in a position where he has to fight to
defend that same quality! And this, not so much while the photography is
actually being created, but during that journey which the image
undergoes when it passes through the developing and printing
machines, the projectors, etc., until it is finally transcribed electronically,
where our supervision is still necessary.
For example, while I was in a television studio, I was suddenly attracted
by a piece of music that sounded familiar. Ifound myself walking into a
small room where a film I had shot a few years previously with Fellini,
was being transcribed, in a very intense shade of blue, with the telecine. I
discovered they were working with a black & white print, and they had
brought it up to that intense shade of blue in order to obtain greater:
contrast and better black & white electronic images. And they were using
the same procedure to obtain the colour images. If chance had not had it
that I was there at that particular moment, and I had not telephoned the
RAI Management immediately, and also to Fellini, who helped me have
the work stopped until a colour print could be obtained, the film would