24/04/2013 - In Cannes with two films: "Much work and responsibility. We certainly were not met with open doors"

Even if she is arriving in Cannes with a debut piece of work, Viola Prestieri is by no means a producing novice.  The Internet Movies Database credits her with various roles for 31 titles. She started in 1995 with Mario Martone, as secretary to the producer for L'amore molesto, continuing with the same director in 1998 as assistant producer for Teatro di Guerra. That same year, she was involved with Radiofreccia by Luciano Ligabue as production director. She held this position for further important independent Italian and foreign films: L'amico di famiglia, which marked the beginning of her collaboration with Paolo  Sorrentino, La ragazza del lago [+see also:
film review
trailer
film profile] by Andrea Molaioli, Io sono l'amore [+see also:
film review
trailer
interview: Luca Guadagnino - director
film profile] by Luca Guadagnino, L'educazione fisica delle fanciulle by John Irvin. As executive producer, she recently wrapped up La doppia ora by Giuseppe Capotondi, Il Gioiellino [+see also:
film review
trailer
film profile] by Andrea Molaioli, La kryptonite nella borsa [+see also:
film review
trailer
making of
interview: Ivan Cotroneo
film profile] by Ivan Cotroneo, as well as Benvenuto Presidente! by Riccardo Milani, which came out in Italian cinemas last March. The collaboration with Sorrentino continued so that, this year, Viola Prestieri, will be presenting tow films in Cannes, something almost without precedent. La grande bellezza [+see also:
film review
trailer
interview: Paolo Sorrentino
film profile], which she executive produced is in competition, while Miele [+see also:
film review
trailer
interview: Valeria Golino
interview: Valeria Golino
film profile], actress and director Valeria Golino’s feature film debut is in the Un Certain Regard section. Miele was produced by small company la Buena Onda, created in 2010 by Riccardo Scamarcio, Valeria Golino and Viola Prestieri with the aim of supporting low-budget projects.

You are getting to Cannes with two films, but you are by no means a newcomer to the Croisette, especially when it comes to Paolo Sorrentino’s films. You will be even more present this year at the festival…
As executive producer for Sorrentino’s films, I have a different responsibility, with a structured company surrounding me. Let’s say that as a producer, with a company that is in its first steps, there is more work and more responsibility.

How did you like the "Producers on the Move" event as the producer of a debut film?
It seems very interesting and motivating to me, especially in terms of sharing with other producers, projects currently being developed.

Buena Onda with Rai Cinema, Les Films des Tournelles, Cité Films. Miele has a more complex production team than most Italian films, which so often do not even try to find foreign co-productions. Was it difficult to assemble this production team?
It was very difficult, but also very interesting, a challenge almost. It was the only way the film was going to be made. A feature film that tackles such a delicate subject matter was not easy to put together, especially in a moment like this, of such difficulty for Italian production. I wouldn’t say we found open doors. But slowly, slowly we managed to assemble a production base for the film, and every small step forward felt like a victory.

Miele is a film with a strong theme which will certainly be talked about. How did you become involved in the project and what kind of relationship did you forge with the new director as well as your production partners?
Valeria and I have been friends since we were 17. To create the company together, and with Riccardo too, was absolutely natural. She told us about the book and the way in which she thought the film would be, and this cleared any doubts I had around the subject matter. Because we were friends, there was already a close rapport, which was tested during tense moments, but has remained intact.