Porton, Ellickson and Nanni Moretti.pdf

Then at a certain point it be came more important to

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Then, at a certain point, it be- came more important to develop the story. Finally, I went beyond this and tried to recount stories in a nonrealistic manner. For example, in Caro Diario I wanted to tell a story with great narrative freedom. I began to make Caro Diario without really realizing it. I had a different script ready and was planning to make another film. I was alone during the summer and came up with the idea of making a short film about my travels around Rome on my Vespa. I filmed for two weekends and then looked at the unedited footage. When I saw it, I said to myself that I'd like to preserve this freedom, thisirres- ponsibility I had when I thought I was making a short film that very few people would see. It wasn't a film that hád the burden of being an- ticipated by the public and the crit- ics. I had already decided to tell the story of my disease and had the idea of Islands in my head, so I began to prepare these three stories. Cineaste: You ob- viously had complete freedom when you made your Super-8mm films. Are you returning to that situ- ation? Moretti: It's possible when you don't have a traditional relationship with a producer. I have my own production company, and a partner who understands me completely. This structure gives me a great deal of support but also allows for flexibility. I've always felt free to make the films that I've wanted to make. When a producer (such as the person who produced Ecce Bombo) suggested that I make a film, he knew my way of work- ing. I've also had the pleasure of producing other people's films and giving them creative freedom. Certainly, I couldn't have made Caro Diario without my own production company. In myearly films, I liked to keep the camera stationary because I wanted to remind the spectator that he wasn't seeing reality, but a reconstruction of reality from the director's point of view. Cineaste: That soundslikea Brechtian perspective. Were you influenced by Brecht? Moretti: Yes, perhaps. But from a cinematic perspective I've been most influenced by the Taviani brothers. I used to like to move characters around within the frame of one shot, rather than following them with a moving camera. I didn't like banal camera movements. In the last few years, I've become much less rigorous about this because sometimes rigor can transform itself into rigidity. I've always liked to use popular songs in my films. Sometimes, but not always, I've used songs as ironic counterpoint, contrast- ing them with the general feeling of the scene. Cineaste: It is interesting that Caro Diariois a "diary film, " and , in many respects , resembles a documentary. Many of your films could almost be considered " first per- son " narrativesy and the characters that youplay often com- ment upon the action. Since you dispense with the alter ego character of the pre- vious filmSy would you consider this di- ary format a natural evolution of the auto- biographical strain in your previous work?
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  • Fall '16
  • Deeman
  • JSTOR Terms, Moretti, Cineaste, Caro Diario, Nanni Moretti, PalombellaRossa Moretti

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