Storaro, me between Bertolucci and Woody Allen

ROME - For Vittorio Storaro, author of the three-time Oscar-winning photography (for Reds, Apocalypse Now and The Last Emperor), taking breaks "for paths of knowledge" after important projects has always been a habit, already "from Apocalypse Now , when I realized that I was using colors but no one had really taught me. I wanted to deepen all their aspects so I stopped for a year to study them "says the great cinematographer, who presents his photographic exhibition in Rome The Roman civilization. The exhibition arrives for the first time in Italy (at Simona Marchini's La Nuova Pesa gallery, from June 17 to September 10), but it comes from a project, born precisely in a break from cinema, to which Storaro has dedicated five years to early 90s,which had also taken shape through the documentary story and a book.

"Now with the pandemic I have confirmed, but it helped me to tidy up my library and the many material of my film travels with Bernardo Bertolucci. A journey that I will tell in a book and an exhibition in preparation, could debut next year ". To this is added the work "of visual restoration and conservation of the films made with the director of The Last Emperor:" I keep a promise that I had made to Bernardo in the last period. I have already worked on The Little Buddha and the Twentieth Century ". In the coming months then" perhaps - he explains - I should also shoot the fifth film with Woody Allen. The appointment for now is in Paris at the beginning of August, but in the cinema you never know until you are on the set. "Storaro in responding with his usual grace to journalists,he also mentions the accusations made to the New York director: "Things that are not true - he says -. I did not frequent him 20 years ago but as I met him I do not think he is capable of doing those things. two investigations from which he was acquitted ". Recently Storaro has also returned to the set with another "of the masters from whom I continue to learn", Carlos Saura, for the musical drama El rey de todo el mundo "and together we are thinking of a great project for TV on Garcia Lorca".of the teachers from whom I continue to learn ", Carlos Saura, for the musical drama El rey de todo el mundo" and together we are thinking of a great project for TV on Garcia Lorca ".of the teachers from whom I continue to learn ", Carlos Saura, for the musical drama El rey de todo el mundo" and together we are thinking of a great project for TV on Garcia Lorca ".

In the exhibition, curated by Nestor Saied and Giovanni Storaro, 10 photographic works are protagonists, made in double exposure within the same frame: a journey that unites, creating real stories through images, statues and monuments, from Lo Stadio dei Marmi to The Empress of Byzantium, from Antinous to Le Catilinarie. "I have always had a passion for photography - he explains - but what dominates is my love for cinema, the tenth muse, which feeds on all the other muses and allows me to explore and fall in love with the other arts every time". Today, however, "films, not only Italian, tend to have a digital vision. We do not use light, because people are getting used to seeing cinema even on phones". They make "films for the weekend, mediocre, but there are no classics,stories with a structure, a thought, a knowledge - he comments -. I don't make a film in Italy since Rigoletto. When there is no desire for a certain style and vision, indifference prevails, even if there are interesting projects ". Storaro receives many screenplays from all over the world" also many first works, and it would be fine to me, I made many premieres direction in my career, but most of them are little stories I don't know what to do about. And I'm not talking about budget, because I'm ready to adapt when the story is worth it, but about vision, breathing ". Carlos Saura's film, for example," has the budget of an average Italian film but there is a desire inside. and an extraordinary strength to express oneself ".When there is no desire for a certain style and vision, indifference prevails, even if there are interesting projects ". Storaro receives many screenplays from all over the world" also many first works, and it would be fine to me, I made many premieres direction in my career, but most of them are little stories I don't know what to do about. And I'm not talking about budget, because I'm ready to adapt when the story is worth it, but about vision, breathing ". Carlos Saura's film, for example," has the budget of an average Italian film but there is a desire inside. and an extraordinary strength to express oneself ".When there is no desire for a certain style and vision, indifference prevails, even if there are interesting projects ". Storaro receives many screenplays from all over the world" also many first works, and it would be fine to me, I made many premieres direction in my career, but most of them are little stories I don't know what to do about. And I'm not talking about budget, because I'm ready to adapt when the story is worth it, but about vision, breathing ". Carlos Saura's film, for example," has the budget of an average Italian film but there is a desire inside. and an extraordinary strength to express oneself ".and it would be fine to me, I did a lot of first directing in my career, but most of them are little stories about which I don't know what to do. And I'm not talking about budget, because I'm ready to adapt when the story is worth it, but about vision, breathing ". Carlos Saura's film, for example," has the budget of an average Italian film but there is a desire inside. and an extraordinary strength to express oneself ".and it would be fine to me, I did a lot of first directing in my career, but most of them are little stories about which I don't know what to do. And I'm not talking about budget, because I'm ready to adapt when the story is worth it, but about vision, breathing ". Carlos Saura's film, for example," has the budget of an average Italian film but there is a desire inside. and an extraordinary strength to express oneself ".