Peter Jackson, in the wonderful extras of The Lord of the Rings, at one point, while discussing the preparation of the film, says something like this: «At Weta [his VFX and production company in Wellington, New Zealand], I made sure that my office was the last one. Every morning, to get to my office, I had to pass through Grant Major’s office and his staff, the production designer and set decorators, Ngila Dickson and Richard Taylor (the costume designers), Fran Walsh and Philippa Boyens, the screenwriters, Andrew Lesnie, the cinematographer, the line producer, the VFX department… In this way, despite the long journey and frequent stops, chats, greetings, and jokes, I would arrive at my office daily with several new ideas».
Since I saw this interview with Peter Jackson, several years ago, this simple observation of his has been swirling in my mind, and every time I think of the many wonderful possibilities of preparing a film. The moment when we all try to figure out how to make “The Film,” the best we’ve ever made, the one that marks our turning point, that strikes and moves the audience. Working side by side with the main creative collaborators of a film or series, exchanging ideas, and seeing the project grow in this continuous interchange, with ideas multiplying exponentially. Seeing the preparation offices of movies or series as places where every day we meet with the director, artistic collaborators, and producers. Having an office next to theirs and sharing daily in the growth process of the film.
I had a similar experience on some international sets: Treadstone and The White Tiger with Ramin Bahrani, but also in France for Fleuve noir by Erik Zonca, and in Mexico for Zerozerozero by Stefano Sollima. We worked for weeks, side by side, analysing all possible aspects of the film, the pilot, or the series, intensely collaborating with the production designer and decorator, with the costume designers, obviously with the first assistant director and the line producer. I had an office or at least a table, with an extremely intense daily work schedule.
Finally, every Monday during the many weeks of preparation, there was a meeting coordinated by the first assistant director, attended by the producers, all department heads, and key creative collaborators, to take stock of the situation and set goals for the coming week.
Everyone knew the progress status and possible problems of the other departments, the production issues, and the choices being made. And so everyone, in turn, would share in a very important exchange of ideas, the problems of the film, and possible solutions with their departments; I with the camera department, electricians, and grips, explaining the needs, seeking and sharing solutions.
In Italy, I have found it very difficult to work in this way. Productions tend to shorten preparation times, especially for cinematographers, without considering that saving a few thousand euros impoverishes the film. Often, even directors are not accustomed to sharing or thoroughly explaining their projects, or more simply, to sharing their doubts.
Certainly, where the technical complexity is more evident, the constraints loosen, and the preparation becomes more intense: in my experience, Suburra (the movie), Adagio, Me Captain by Matteo Garrone, the series The Monster of Florence, and even M, the Son of the Century, which had all the characteristics of a large international production, had intense preparations.
However, in Italy, when a lot has been invested in preparation, even in films that do not appear to be difficult or with limited budgets, the results have been evident, and often, costs have either been intelligently contained, or resources have been consciously redirected to the most important aspects for the successful realisation of the film.
It is my deep belief that the raising of the quality of our films comes through serious and careful preparations. Producers should be the first to demand it and directors should insist on it. But we too can be drivers of this evolution, not only to defend the quality of our work but also to defend and enhance the quality of our films.
To improve the state of our preparations, I believe we cannot move alone; we should initially open a dialogue among ourselves, but then, right after, we should start talking about it with our fellow assistant directors, organisers, production designers, costume designers, and figure out how to involve operators, assistants, electricians, and grips.
By the end of this process, I am convinced that, like Peter Jackson, we will all find ourselves with many more ideas.
Paolo Carnera
PS: I know well that it is not an easy time for many of us and many of our collaborators, but I have always foolishly thought that in the most difficult moments, it is important to go beyond, raise the bar, think about the future, or, in the mystical vision of Franco Battiato, with beautiful words, “to find the dawn within the twilight.”
PS 2: The image that serves as the background to this letter is a tribute to the crew, the film crews. This extraordinary image by Greta de Lazzaris tells the story of the courage and humanity of those who accompany us. Of the many professionals who fight with us to make our films, a tribute to their courage and humanity.
