"Competing on the international level"
by Camillo de Marco
- As the head of Titti Film, Fabrizio Mosca do not hesitate to take on European adventures
The success of Marco Tullio Giordana's One Hundred Steps - 5 David di Donatello Awards and a Golden Globe nomination – brought its producer, Fabrizio Mosca, into the spotlight. As the head of Titti Film, Mosca did not hesitate to take on other European adventures, such as Water and Salt, directed by acclaimed Portuguese director Teresa Villaverde, the Swiss/Italian co-production Strange Crime by Roberto Andò and now Golden Door [+see also:
interview: Alexandre Mallet-Guy
interview: Charlotte Gainsbourg
interview: Emanuele Crialese
interview: Emanuele Crialese
interview: Fabrizio Mosca
film profile], which marks the return of Emmanuele Crialese four years after Respiro: Grazia’s Island [+see also:
Cineuropa: After the huge success of One Hundred Steps, Titti Film co-produced films with other countries. Do you believe that the current system of co-production agreements is an efficient model for reviving the European film industry?
Fabrizio Mosca: Personally, I think that the system of co-production agreements has existed for years and surely contributed positively to making films that would not have otherwise existed. In particular, ambitious films, in production terms, or with a particular artistic value that were made by uniting strengths. I although think that these agreements are a stimulus for making projects that have the qualities necessary to competing on the international level. In my opinion, this system, however, is insufficient for reviving the European industry, which must be accompanied by national and international policies that support the film industry in general.
In Italy, in particular, the situation is very troubling. The figures are obvious to everyone, the new law has very serious defects and did not manage to resolve a crisis that for years now has relegated our film industry to the margins of international production. Until a legislative system is created (an illuminated example that comes to mind is the French system) that allows our films to finance themselves, I don’t see how even an efficient international co-production system can resolve the problems intrinsic to our cinema.
How did you become involved in your latest project, The Golden Door by Emmanuele Crialese and what criteria do you use in general when choosing projects to develop?
The choice of working with Emanuele was profoundly rooted in me as soon as I came out of the cinema where I saw Respiro: Grazia’s Island four years ago. I have rarely been so moved by a film for the strength of its story and the originality through which the images portray emotions. The Golden Door was a screenplay with a rare and extraordinarily evocative strength and became a film that will be much talked about for its magic, its strength and the topicality of the themes it deals with.