Absent the former captain of Rome, in mourning for the recent death of his father, the director and screenwriter Alex Infascelli presented the documentary about him at the Rome Film Fest 2020.
“Everything that is told in this film comes from Francesco. I listened to this voice, protected it and brought it into a narrative that I supported on a cinematic level, but the story is all of Francesco. “
So he speaks Alex Infascelli, director and co-writer, together with Vincenzo Scuccimarra, of My name is Franscesco Totti, a documentary on the former captain of Rome which was presented at the Rome Film Festival and who will be in the room like event release on October 19th, 20th and 21st, distributed by Vision Distribution, then move on Sky and on the platforms of streaming.
“Seeing the face of Francesco on the cover of the autobiography he wrote with Paolo Condò, and from which we started as a starting point, I immediately thought that without him the film would not have been able to do it. I couldn’t have told it without going to him and getting to know him as a man, “he explains Infascelli. “As soon as we met I told him that I don’t know anything about football, and he replied ‘you’re perfect’. And from there we started to duet, and he made himself completely available: because he was mature, he was ready and he wanted to do this kind of path. I just found myself in the right place at the right time. “
To call Infascelli to direct the film was Lorenzo They had, one of the producers, who has a solid friendship with the director. “I wouldn’t have faced this adventure, this particular and risky film, if I hadn’t had someone by my side I didn’t trust completely,” he says. Infascelli, which defines the film as particular because “by observing topicamete a well-known thing like Francesco, they bounce narratively towards a whole city, towards those who are known to Francesco, the Romanists and the Romans. I needed to isolate a relationship, and this relationship is that between Francis and Rome, that of love between him and the city that we tell and that tells it.”
From Totti and from Rome, he explains Infascelli, some Christological nuances present in his documentary also derive directly: “Rome is Christological. Rome is Catholic and imbues you with this dimension even if you are not. And then Christ does not differ from figures such as Kurt Cobain The Francesco Totti: they are all three people who from a very young age did incredible things, who had a gift and a mission, and who each in their own eliminated their ego to do something important. Francesco feels this gift very much, and he comes from a very religious family, and I wanted to respect this vision of his. I didn’t want to do an investigation this is a film that tells the story of a person who tells himself, and who moves because he gets excited while telling himself, “adds the director.” For me the film was a blank sheet on which to make Francesco write the story with the simplicity of a child writing a theme: I wanted that simplicity because Francesco is simple, and because I like it that way.”
“In the first months we did the filming that involved him, then I closed myself to editing and built a structure that was satisfactory for me on the basis of what I thought was valid up to that moment; a film structure in three acts starting from the night before the farewell to football, “he says Infascelli, explaining the making of the film and how Totti contributed to its realization. “Then Francesco arrived, at an already advanced stage, because I wanted to reach him with a tank already full of images to show him. I promised him that I would not take him back, that I would only put his audio, because avoiding him being a face would have allowed him not to be self-conscious. We sat on a sofa in the dim light, with a coffee and three biscuits, and we started talking, and we immersed ourselves in this chat, which at times followed a script of mine and at other times navigated on sight, in absurd places in Francesco’s conscience. . I then put everything that came from him back into the editing and into the film: his stream of consciousness was going to reconstruct and scratch what I had done up to that moment, “continues the director.” And then again we would get back on the sofa and so we did for months, back and forth, in constant mutual pollination. It was a bit like the scene from Ghost with the two of them making the clay pot, if we want: Francesco is to all intents and purposes my co-director. It was impossible for me to think of working differently. IS telling himself, Francesco tells us all: it’s the miracle that happens when you have a good intuition. “
In mourning for the death of her father, which occurred a few days ago, Francesco Totti did not participate in any of the activities of the Rome Film Festival and promotion of the film. “I think it’s useless to speculate about why, and about his grief,” he says Infascelli. “I also think Francesco he may have wanted to let the film speak, leave the space for the images to say everything there is to say, everything he has already said. “