I’m working hard to activate it, we’ll start in January, we’ll do three 9-hour weeks, where the guys we choose will receive a smattering of how to approach a casting.
Many of these guys who go to castings know next to nothing. Then in the hope that the kids will appreciate this thing and maybe enroll in some school, it’s also a way to encourage them to take the first step. I received a lot of emails, then as always the conversion rates are low, because then you get lost between emails and videos to send. The project will be called First Generation.
Before we talked about the choice of rap music, I wanted to ask you how much a narrative ploy it was to talk about something else and how much is inserting it in the film a separate matter?
Every time I try to do something that has rap to do with it, my will is to tell this culture, this movement in a country where it hasn’t always been told. My hope is to give more information, even musically speaking. For me it was an honor to host groups like Cor Veleno in my film, it is to support culture, which has given me so much. Music is indeed a great narrative and marketing ploy, because in any case I think that many of the people who approached this film expected something else, that is a story of rappers, and then it took another direction.
The talent choices came from a comparison with Amazon, starting with Sfera Ebbasta which I hadn’t even thought about because imagine if it wants to appear in my film, instead it was enthusiastic. I knew Di Guè wanted to be an actor so I immediately thought of him. I chose Johnny Marsiglia even before working with Amazon, I wanted someone who would write the music and who would understand, “diffidence on our dark skin” is the only one who is able to tell such complex concepts with this simplicity.
You talk about the importance of marketing, of self-narration, which is something you pay particular attention to since the first books came out, that you invented your own strategies. Is it so important for you to have control over this aspect as well?
It is essential to have control of this aspect, to have knowledge of the market of what it needs, the people who can develop what you want to do. In Italy there is this approach that I don’t understand and I don’t tolerate, things are always done for authorial inspiration, convinced that that’s enough, directors make authors, they write these immense, absurd stories, and if a producer doesn’t take them, then it’s because Italy is a country of recommendations, but that’s not how it works. I am aware that as a producer you need a family story and that’s what I bring you, with my voice, with the right timing and the right tools. Amazon always told me, I’ve never received a presentation done so well, and it’s not like we put in so much effort. I’m sorry that in Italy marketing is seen in a negative way, while I think authors should think in this direction, defend the soul of the project yes, but listen to the market and what it needs: if you want to tell a story it’s because you want someone to see it. So when I do things I want them to be successful, I want people to see them, to comment, criticize them, I want to take everything, but I want to be relevant in what I do, otherwise why do I do it. In this I really admire the Americans because they have this approach. Every time they do something they want to change the place where they are and break everything, here I want to do the same thing.