AIC, 1988 - AIC Associazione Italiana Autori della Fotografia ...

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<strong>AIC</strong> been built there, were originally intended for a steel refinery. However, a law was passed, confining the heavy iron and steel industry to the North, and the buildings were left standing empty. At this point, an architect, Antonio Valente, stepped in, suggesting that buildings be converted into film studios, and presented the complete plan for the project and all the services necessary, to Angelo De Paolis, who was very enthusiastic and gave the go-ahead. And this was how the first of the De Paolis Studios came into being. In 1943, ELICA FILM took over the management of these Studios, augmenting the technical facilities to make them more complete. In 1944, the Studios were bombed, and three of them, plus the offices, were completely destroyed; the scenebuilding department and the dressing rooms were the only things left standing. And that was the end of that for a while. It was only in 1946, that with more good will than money, the rebuilding began. In 1947, in N° 2 Studios, Foto del primo film girato nei teatri De Paolis nel 1947 «Action!» was called out, and the first take of a film, ironically entitled: «Accidenti alla Guerra» was shot with a hand-turned camera. Gradually, the Studios managed to equip itself with a range of cameras, lighting equipment, generators and transport vehicles. Next, N° 5 Studios, measuring 103 mts. x 37 mts., and the largest in Europe, were built, which was really the beginning of the De Paolis Studios as we know them today. Florestano Vancini's having constructed the main street of Ferrara in them, with the walls of the Estense Castle on the one side and a long line of porticos on the other, for his film, «La Lunga Notte del '43» in 1960, was proof of their capacity to accommodate a Hollywood-style epic, although they had already demonstrated this with the sets constructed for many of the so-called «historical» epics. Through Corti De Paolis, the ICET De Paolis group of Studios (which now house independent television's Channel 5) were built at Cologno Monzese near Milan; while three more Studios were added to the Rome group. There were then nine De Paolis Studios, but the largest of them burnt down in 1968, could not be re-constructed because of . City Planning regulations, and its 4,000 sq. mts. of space was eventually built on. Today, there are eight De Paolis Studios, all functioning in the old tradition. Many times it has been proposed that one or more of them be converted into T.V. studios, a temptation that has not always been easy to resist: the attraction of advanced technologies, and the study and research they would necessitate; for traditionalists like us; the desire to be more competitive and to operate in a more modern and incisive way, have often rendered us indecisive. However, it was the fact that we didn't have the necessary capital (how is it other companies manage to obtain subsidies and financing so easily ?) that really made us decide to leave the Studios as they were. After all, any locale can be converted into a T.V. studios, all you need is a good range of technical and electronic equipement. But, a group of Studios, which is large enough and structured in such a way that it can accommodate various productions simultaneously, provide all the relative services and asnswer every need, is not something you find every day. The 2,000 films (not counting all the commercials and T.V. projects) that have been made in the De Paolis Studios over the last forty years, are proof that they function very well as they are. And they will continue to function, also because of the quality of the set building, and all the creative talent and craftsmanship, fantasy and technical invention that goes into it. Which is in no small part, the merit of the skilled craftsmen who work on the sets, and them, who have been patiently trained by people who live for their profession. All this is evident in our achievements: the De Paolis Studios are certainly not perfect, mainly due to economic factors (Oh! the poor Italian cinema, beset by one crisis after another...), but we do function on a human level, and the results are consistent. Anyone who works in them, or uses us to create the kind of images they believe in will confirm this.
<strong>AIC</strong> V DE P AOL IS - INC IR INDUSTRIE CINEMATOGRAFICHE ROMANE 8 TEATRI DI POSA DA M.16x16ÀM. 65x25 CON LE PIÙ' MODERNE ATTREZZATURE TECNICHE • 3 Teatri con ampie piscine • Piscine all'aperto da m. 16x10 • Attrezzature per riprese subacquee • Front Projection per effetti speciali • Sala proiezione con 180 posti • Sala trascrizioni e Moviole TEATRO ATTREZZATO PER PUBBLICITÀ AMPI SPAZI PER ESTERNI 00159 ROMA - VIA TIBURTINA.521 - TELEFONO 4385341 (cinque linee con ricerca automatica] J
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AIC ASSOCIAZIONE ITALIANA AUTORI DE
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AIC Muchos anos después, frente el
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AIC ASSOCIAZIONE ITALIANA AUTORI DE
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AIC Realizzazione e redazione MARIO
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AIC
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AIC 91 CINQUE ANNI DI PROGRAMMAZION
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AIC producers have (especially in I
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AIC
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AIC Partirei dall'idea che l'immagi
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AIC 8 o < - CXI O) . gS « S u lu f
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AIC Bordeu. "Cosa circoscrive la vo
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AIC enfatizzate e prolungate, per s
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AIC ; » t®' ' WM mm i L'IMMAGINE
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AIC Ci sono giorni in cui penso sia
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AIC "Cinema è tutto ciò che non s
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AIC "One from the heart" di Vittori
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AIC Molti, troppi sono i miti che c
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AIC Oggi i più hanno (o pensano di
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AIC continuino a coesistere, in cer
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AIC Lino asino fu già, ch'ogni oss
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AIC Immagine da computer graphic di
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AIC LA PROSPETTIVA ... anni, paiono
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AIC la lente, il microscopio, il te
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AIC addensamenti di energia resti u
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AIC Movie People: agile e dinamico
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AIC "Luci lontane" di Renato Tafuri
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AIC D A M Kodak è soprattutto tecn
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AIC
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AIC
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AIC Schmidt Reitwein, Robby Mùller
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AIC Ad un primo sguardo, i compiti
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AIC Cominciamo con un paradosso. Da
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AIC ^IMMAGINE E L'ANGOSCIA 61 Io ri
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AIC modem cameras. We cannot afford
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AIC 10% (escludendo le lavorazioni
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AIC I PIÙ TIRANO I MENO (proverbio
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AIC cinematografica medesima. La ma
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AIC pensa la gente. A volte ho anch
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AIC Si parla molto, forse troppo, d
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AIC EASTMAN. NEL NOME DEL COLORE. U
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AIC questo contatto. Che fare per n
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AIC
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AIC L'IMMAGINE E L'ANGOSCIA La gola
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AIC anche essere il tavolo della tr
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AIC T 3.1 T 3.1 T 2.3 T 2.3 T 3.9 L
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AIC Nel frattempo i cittadini dovra
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AIC World Cup '90, Europe '92, etc.
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AIC Giunto al quinto anno di progra
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AIC
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AIC "L'intervista" di Tonino Delli
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AIC COLLEGIO DEI PROBIVIRI Armando
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IVO GRIPPO Via Tuscolana 1055, 0017
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AIC GIUSEPPE MODICA Quantunque il l
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AIC L'IMMAGINE E Gli AUTORI ROMANO
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AIC ARMANDO NANNUZZI
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AIC TONINO MACCOPP1 SANDRO D'EVA Fo
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AIC CESARE ALLIONE Me stato chiesto
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AIC DANIELE NANNUZZI Il giovane Tos
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AIC
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AIC ROBERTO D'ETTORRE PIAZZOLI Non
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AIC GIANFRANCO TRANSUNTO È la luce
Page 125 and 126: AIC CLAUDIO CIRILLO Lux anima rerum
Page 127 and 128: AIC ROBERTO SALMI L'immagine è il
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Page 131 and 132: AIC "L'ultimo imperatore" di Vittor
Page 133 and 134: AIC evoluzione figurativa del lungo
Page 135 and 136: AIC avanti e indietro, come a somma
Page 137 and 138: AIC segment of the Film would relat
Page 139 and 140: AIC Molti chiedono come si diventi
Page 141 and 142: AIC maggior collaboratore del regis
Page 143 and 144: AIC Capivo che, nell'inquadratura f
Page 145 and 146: AIC Dalle esigenze artistiche di al
Page 147 and 148: AIC Ancora oggi se ci capita di ved
Page 149 and 150: AIC reality became one. Even now th
Page 151 and 152: AIC recommended me to Federico Fell
Page 153 and 154: AIC Ci ricordava Francois Truffaut
Page 155 and 156: AIC Com e noto, la troupe cinematog
Page 159 and 160: AIC "Sudan subacqueo" di G. Lorenzo
Page 161 and 162: AIC E volentieri che faccio mia una
Page 165 and 166: AIC lavora ancora a tardissima età
Page 167 and 168: AIC of the "product". And then ther
Page 169 and 170: AIC Allo scoppio della seconda guer
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Page 173 and 174: AIC A 78 anni ALDO TONTI é morto i
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Page 181 and 182: AIC Immagine e letteratura LORENZO
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Page 185 and 186: AIC LA TUA FIGURA, UN RICORDO Un di
Page 187 and 188: AIC A proposito del film di Tovoli
Page 195 and 196: AIC LA MODA DELL'AVVENIRE Calendari
Page 197 and 198: AIC A.A.I.M.A. ROMA Via Aurelio 332
Page 201 and 202: AIC l'IT A H A OSI 81C0M SICIHOBIOH
Page 203 and 204: AIC Quale un fanciullo, con assidua
Page 205 and 206: AIC Si ringraziano G. Franco Borgio
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AIC, 1988 - AIC Associazione Italiana Autori della Fotografia ...

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