A Quote by Luca Guadagnino
In 1993, my first documentary was about the civil war in Algeria. That was in French and in Arabic. Another short film I did was silent. What I'm trying to say is that, yes, I'm Italian, and yes, I make films with Italian money, but personally, I've always been invested in the broader world of film-making.
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African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.
I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
Being partly Italian or, rather, having an Italian last name, I've always dreamed of really becoming partly Italian, of eating piles of mouthwatering fettuccine in the piazza, speaking a language that demands music over mumble, and yes, if I'm honest, perhaps dressing a little better.
I speak Italian and a little bit of French. I moved to Trento, Italy, when I was around 10 to learn Italian. I have family there. I'm trying to restart my French. And then I want to get into Mandarin.
I was born into a Turkish family that had acquired Italian citizenship. Many members of the family subsequently became British, French, Brazilian, and German, so there was a bit of everything. It was not uncommon for people in the family to speak seven languages: English, French, Ladino, Italian, Turkish, Arabic, and even Greek.
There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.
When I went to film school about three years ago, the first two years you're required to make a series of short films. I started making films based on short poems.
Yes, I'm half Italian. So my grandfather speaks heavy Italian... and I couldn't understand a word he said.
I've wanted to make a film about French youth since I went to Cannes with my first film 'Kids' in 1995 ... Scribe's screenplay is about French kids today, and the world today. Just like my films 'Kids' and 'Ken Park', this will be a movie like you have never seen before.
The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn't work and you're going to hit a brick wall at some point.
I was offered to play an Italian part in an Italian film. Although I could not take it up because I did not have the time, the kind of characters being offered to us are changing.
A film is a film and it has to be good to be inspired. That's number one. It can be Italian, French, German, American. It's moving images in front of you and with a strong director who injects his point of view and artistry.
I made a lot of short films before making a feature film. Actually, I learnt film-making by making short films.
I'd like to do a number of films. Westerns. Genre pieces. Maybe another film about Italian Americans where they're not gangsters, just to prove that not all Italians are gangsters.
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