Enrico Vanzina on Italian-style Lockdown

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Presented today in Rome Italian-style Lockdown, yet another film as a screenwriter by Enrico Vanzina and his first film as a director. Here is what Vanzina told about the film, and responded to the controversy it has raised in recent weeks.

“During the lockdown I found myself in a deserted Rome, ghostly and magnificent, distressing and fascinating. I immediately understood that for those who make cinema, for those like me who have lived cinema since childhood, that was an unrepeatable opportunity to make a true Italian comedy: the comedy that tells of a small group of characters who live a tragedy greater than themselves. That is the foundation of the Italian comedy. “
So he begins Enrico Vanzina presenting Lockdown all’italiana, his umpteenth film as a screenwriter e first as a director, which a few weeks ago he had aroused the indignation of the network following the spread of the manifesto (which was and is ugly, yes, but that’s a different kettle of fish).

Enrico Vanzina and the controversies

“My shoulders are very broad, but then if you read, relaunched by the newspapers, the opinions of 1500 people who hate you and think you are a monster who’s speculating on pain, it hurts you, ” Enrico Vanzina commented bitterly. “I lost a brother within six months, I wrote a book about him and death, and being told that I was joking about death made me sick and terrible. I wish someone, after seeing what this film really is. , you can sprinkle the head of ashes. “

The Italian Lockdown theme? The pursuit of happiness

What is certain is that Italian Lockdown is not really a film that just wants to laugh at the tics of Italians during the period of confinement lived last spring. In short, it’s not just what you see from the trailer, but this applies to every film, and everyone should know it by now.
“Per me the film’s theme is the pursuit of happiness“, declared Vanzina, who not by chance claimed to have put in exergue a sentence by Jacques Prévert which reads” We should try to be happy, if only to set an example. “
For Vanzina, the pursuit of happiness is that of “four negative characters, who struggle in the face of the exceptional situation they find themselves in. This is a film not to forget, but in a funny and witty way.” Funny yes, but not necessarily disengaged: “Have we come out better from that situation ?,” Vanzina asks rhetorically, “I think not. This is a bad film, with characters who are monsters, each in their own way.”

Italian lockdown: first directed by Enrico Vanzina

The monsters, played by Ezio Greggio, Paola Minaccioni, Ricky Memphis e Martina Stella, are two couple breaking out, cause horns, right at the beginning of confinement, and they find themselves closed in their house at maximum tension. “I noted what was happening around me, and already on 11 May I formulated the idea of ​​the subject, which for me was a very strong starting point,” explained Vanzina. Written quickly the script, with the contribution of Paola Minaccioni, Vanzina sent it to Giampaolo Letta of Medusa, and immediately the production machine started.
“I was offered to be a director once, in 1977, but I said no. I always thought, and I still think, that the screenplay is more important than directing. In this case I accepted because I thought that dad and Carlo they would have done a film like that. So I tried to do something simple: in comedy the less you feel the director the better. ” Vanzina also defines the film as simple, simple and “honest. Filmed in a short time and cost little: we all halved the salary to do it. “

A film designed for the cinema

Although his latest screenwriting works, Natale a 5 stelle and Sotto il sole di Riccione, have been released directly on Netflix, in the case of the Italian-style Lockdown, Vanzina strongly wanted the theatrical release.

“We thought this for the hall from the beginning: for those who love cinema this was a great opportunity to create a grain capable of sending out a signal of hope. Of course, now we are a bit anxious, but still convinced of our choice: they cannot and must not take away our freedom to go to the cinema. Closing cinemas would be like closing the brains of millions of people. “
Coming here this morning, I asked my brother a question: was I right to make this film, Carlo ?, “Vanzina recounted.” I think that also in this case the rule of silent consent was valid. “

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