show business

Intervista al più famoso attore comico francese Kad Merad alla Mostra del Cinema di Venezia con “La Melodie”.

Kad Merad, sei una celebrità come attore comico. Come ti sei trovato invece in un ruolo drammatico?

Non so mai cosa effettivamente rispondere a questa domanda perché qualunque sia il ruolo, io mi considero un attore, un interprete nel senso più ampio del termine. Quando ho scelto di fare questo mestiere volevo fare commedia in quanto il mio più grande modello era Jerry Lewis che, sapete, ci ha lasciato poco tempo fa; per me lui era l’esempio di chi è anche capace di commuoverci enormemente, come avete visto nei film di Jerry Lewis.

Non molto tempo fa, in Francia, hanno trasmesso un reportage su Jerry Lewis dove la donna della sua vita, alla soglia della sua morte, ha raccontato che durante tutta la sua vita è stato considerato un attore comico, possiamo dire un attore divertente, senza che veramente le persone si interessassero a fare osservazioni o critiche costruttive, e il giorno in cui ha fatto “the king of comedy”, il film di Martin Scorsese, tutti sono rimasti stupiti e hanno detto “ah che grande attore” e lui ha detto “scusatemi, ho fatto una sessantina di film e solo oggi mi trattate come un attore e non come un comico”.

Ma ti senti effettivamente differente in questa interpretazione?

Io trovo che sia un po’ questo il problema, io non ho l’impressione di essere diverso nei film, cerco sempre di avere il meglio da me stesso, di essere fedele a ciò che devo fare e alla storia che si deve raccontare. Sono molto felice oggi di poter interpretare film cosi diversi tra di loro e ancora non ho finito, ho ancora tanta voglia e ho sempre l’impressione di imparare qualcosa dai film e penso che continuerò ad apprendere cosi per tutta la mia vita. Amo molto la commedia ma amo molto anche i film come “La Melodie” perché amo molto anche le emozioni. E molto molto piacevole vedere in sala persone commuoversi tanto quanto vederle ridere. Io penso che siano due sentimenti che sono equivalenti. Non so, io mi commuovo per esempio tanto quanto avanti ad una grande partita sportiva o ad un concerto e posso ridere avanti ad uno sketch; Sono entrambe emozioni molto forti, a me fa molto bene entrambe e penso che faccia bene anche alle persone, sia ridere che commuoversi, io mi sento bene con entrambe.

Interview to ROBERT REDFORD in Venice Festival for ‘Our souls in the night’.

Robert Redford, in Venice for his new movie, has talked about that and other point of views he has on the planet, on independent voices, on older age.

OPPORTUNITIES FOR INDEPENDENT VOICES

What is the most important issue today in 2017?

The only thing is that there is hope for the future. The thing that we have to put in our minds and hands is “where can we go that there is hope?”. We have responsibility for the future generation, and there is only one planet.

You acquired the book and produced this movie. Why did you wanted to embark on this project?

It was a film pointed to a younger audience I wanted to do another film with Jane Fonda, we have not done other for 46 years, before I die.

Why did not direct the movie yourself?

I think it has a lot to do with what Sundance is about. If you have success, and I’m talking about myself, you have to create opportunities for the people, and that goes to the category of the independents filmmakers. There are independent voices out there that does not have a chance, so I can get the success that I’m having and create a mechanism that is an opportunity for other films. That is the festival. But before the festival, I don’t think a lot of people know about this, the process was to take in 1980 colleagues as writer, director, cinematographer and so forth in coming in Sundance, this place in the mountain, and create a profile, a kind of a brand for new filmmakers to come and go through the process. To develop the relationship between filmmaker and studio the only thing we could was to create a festival, where those filmmakers could come and show each other their work and maybe going beyond that. One was the opportunity for the filmmakers, the other was the opportunity for the audiences to watch movies that were not available in the mainstreams. We get connected with Ritesh Batra in Sundance, where we put his film made in India in our launch box. So when this film came about, it was a chance to maybe give an opportunity to him.

Love as you get older doesn’t change?

No, it just increases. But I’d like to say something about getting older, because I think when we are young we don’t think about that. On a personal level it’s something difficult for me, because when I was young I was very athletic, and then suddenly realize that you must be careful, and I find that hard to deal with. About the sadness of getting older, you have to give up circumstances that you had when you were young, and suddenly you do, and that create restrictions of some kind, kind of sad.

When we were young we think about what we gonna do with our lives and with our carriers, we have children. It takes a while to make the adjustments when you are only thinking about them, because you are so basic thinking about yourself, and also you have children. The time goes on, you realize you have responsibility to take care of them, not only to take care of them, but give them love, give them humor, maybe give them a venture, if you can.  And then you have to let them go, and you have to realize that you felt so busy in your earlier years, when you were young and having a family. There is tension there between looking up to yourself and also looking up to your children. I think that something that this film has in it. My character didn’t think about the children and now realize “oh my God, I have a responsibility that I let it go on. What can I do? Can I retrieve it? Can I bring it back?”. It creates a kind of dramatic tension.

Interview to GEORGE CLOONEY in Venice film festival about his new movie ‘Suburbicon’.

I have been at the presentation of the last movie where George Clooney is director and not actor, ‘Suburbicon’, a black comedy on the issue of racism in Usa. This is what he told:

What did you think about America when you started doing this film?

The genesis of the screenplay started when I watched a lot of speeches on the campaign trail about minorities, and I found this story that has happened in Pennsylvania, so I remembered the Cohen had written ‘Suburbicon’ and I found a kind of perfect match. I have tried to find a funny way to explore these issues. Unfortunately these issues are never out of vogue in our country.

What is the relation of the lucid normality of Matt Demon’s character with the collective insanity we live these days?

First of all I want to agree with the insane Matt Demon is part of the fun with this… (laughing…) . I grew up in the South in the sixties and seventies, segregation was going away and of course we have done a lot from original slavery and racism. The idea was just to say “you are looking in the wrong direction”, while white men are losing their privileges and blame minority. We have put this insane family in the middle of an insane story. This is what we did it.

In this film there is a lot of angry. Can we say this is an angry film?

Yes, it is an angry film. If you go to our country, probably it’s the angriest eye I have ever seen in the country. There is a dark cloud hanging over our country right now, and I’m an optimist but a lot of us are angry, angry with ourselves and angry at the way country and the world are going. We did not want to make a civic lesson, we wanted to be funny, but it is certain an angry movie.

All the movie is based on the view of a child.

Yes, in fact there were an original script named with the eye of the child, because we wanted to create a comfortable feeling in the viewer. Watching through a child eye I think to be a positive person, an optimistic person, and when the children look at that world they think that things should go better. And we have not written anything but only asked to the composer to write a music to describe this feeling of the children.

From the Cohen original script this is a less ironic movie, full of real “monsters” from society. Why this choice?

The monsters aren’t just bad people. You form them, and it happens caused by very stupid mistakes. In every single choice they make the wrong one. Monsters are created, become monsters along the way.

Did you feel that Trump was coming while you started this movie? Or it was a surprise for you?

The reality is that Trump’s coming in has been a big surprise for a lot of people. These are element that are always played in America. The ‘Suburbicon’ is part of our lives. After the Second World War this was the way middle class lived, having schools and a house with a swimming pool… This is not a movie about Donald Trump, this is a movie about the issue that we have never really addressed the racism in our country. We favorited integration but we have people that educate themselves without it.

Il pensiero libero è provocazione. Parola del mio amico Tinto Brass.

Abbiamo saputo del tuo matrimonio con Caterina Varzi. Hai quindi deciso di sposarti nuovamente e lo fai per affidare il futuro della tua salute a una persona. Come mai questa decisione?

Quando si ha la coscienza che stanno finendo i giorni è meglio affidarsi a una persona che possa pensare a me e a tutte le cose che possono succedere.

Hai detto che saresti disponibile ad essere accompagnato a quella che comunemente si chiama ‘la dolce morte’, un’anticipazione della fine. Come mai quest’idea e non attendere gli eventi qualunque essi siano?

Io credo che gli eventi siano sicuramente tali da dover avere necessariamente una persona che ti accompagni.

Ormai l’erotismo è totalmente accettato anche negli ambienti sociali più convintamente cattolici, e quindi il pensiero di Tinto Brass in questo senso è totalmente sdoganato. Possiamo pensare a questa serena accettazione dell’accompagnamento alla fine che ci propone oggi come l’abbattimento di un ulteriore tabù?

Si certo, è un tabù che va assolutamente rimosso, che va affrontato con sincerità e passione. Anche il momento finale va accolto come una liberazione, una liberazione da altri impegni.

Cosa ti attendi da questo momento? E’ la fine di tutto?

Mi attendo una fine simpatica da vivere con assoluta libertà.

Non tutti conoscono la tua storia di autore culturale in una prima fase e poi popolare in secondo momento, usando dei linguaggi molto più adatti al vasto pubblico. Considerando la tua storia di studioso e la tua presenza per anni in Francia soprattutto vicino al cinema e agli ambienti cosiddetti della “contestazione”, è possibile considerare Tinto Brass come un personaggio sempre alla ricerca di quel tipo di provocazione?

Più che di provocazione parlerei del mio essere sentirmi libero, che certo diventa anche una provocazione, ma non penso di avere mai agito con lo scopo di provocare ma più con quello di esprimermi come volevo.

Conosciamo le gesta epiche di Tinto Brass regista, i conflitti legali sul set e con personaggi internazionali che ci restituiscono infatti un’idea di grande libertà, l’idea che Tinto Brass non era un regista per un cachet e non era, come tanti in quell’epoca, un regista per la politica, semplicemente era per dire le cose che voleva dire lui. C’è un senso anche anarchico in questo?

Si certo, assolutamente. Volevo dire le cose che mi venivano spontanee da dire. Non avevo altri riferimenti.

La carriera artistica inizia in un momento in cui nella società c’è un grande trasporto ideologico e “il  mondo che cambia” è un valore condiviso. Cosa pensa Tinto Brass che ha tanta esperienza e una veneranda età… che società ci lascia?

Onestamente dal mio punto di vista succeda quello che succeda, sento di avere fatto la mia parte.

Ci sono dei rimpianti? Artistici o nel privato?

No, non ci sono.

Per cosa vuoi essere ricordato?

Il mio desiderio principale è che le cose che ho fatto siano viste ma soprattutto capite.

Ci sono state effettivamente due fasi della sua carriera una prima autoriale e una seconda popolare o non ti sei accorto di questo passaggio?

Diciamo che il desiderio di esprimere qualcosa che non era ancora espresso c’era anche nella prima fase, solo che anch’io avevo difficoltà a tirarlo fuori completamente. Poi però ho trovato la forza o il coraggio o le condizioni per poter dire liberamente ciò che volevo dire.

Ma nonostante l’erotismo popolare sia oggi dilagato nella letteratura, basti pensare a “50 sfumature di grigio” che si diffonde più di 30 anni dopo “La chiave”, questo tema è invece scomparso da un cinema invaso dai supereroi. Cosa vorrebbe realizzare oggi Tinto Brass?

Nonostante queste cose vere io continuo ad immaginare il mio cinema ed anche come vorrei realizzarlo. La mente libera non si ferma mai.

50 Ironman in 50 giorni in 50 Stati negli USA. Interview with James Lawrence.

James Lawrence, American Ironman, very famous for his record to have done 50 Ironmans in 50 days in 50 States.

You look like that kind of sport man that work harder and harder to reach some special results. Do you have some special way to train?

We definitely have a formula. We manage intensity versus volume and monitor everything very closely. We want to be in a 15 to 20% ratio of high intensity to 85 to 80% low intensity recovery work. Our formula is SOAR: Stress Optimize Adapt and Recover.

Do you think this formula is right for you or is it adaptable to anybody?

SOAR has very important scientific bases and can be adapted to anybody. You have to work hard the right times, and you have to allow your body to Recover and Adapt. A lot of times people miss out on the recover process because they believe that you have to push harder and harder but the truth is that you have to do the opposite. That type of mentality is going to lead to overuse injury and fatigue. You have to manage your effort with a continuous monitoring.

Looking at your achievement it seems that you look to go beyond yourself and your “natural” limit. Do you agree with that?

I think that you want to set a goal that is beyond your limit, but you must give the preparation a ‘timeframe’, that means that you must have an intelligent approach to the big goal. In order to achieve it you have to respect, even in years, the SOAR approach.

Even in this perspective these results sound as unreachable to normal people. Do you really think that any person can reach any goal?

We should go back to the way of setting the big goal. Setting my 50 Ironman I did it with the time respect to get ready for. You could do 50 Ironman in 50 days if you set it in a proper time, managing stressing and recover time, that means about 10 years of training to achieve that. I say that I believe that everybody is capable in doing it, but you have to ask yourself how much time you have to dedicate to that and what I want to sacrifice.

You look happy doing your activity, can you indicate me what you mean for sacrifice?

Yes, I’m really happy in what I do. For sacrifices I mean time, money, energy, effort to dedicate to your goal. To reach your aim you have to give something that becomes not available to something else. I think that everybody have the same opportunities: 10% of life is what happens to us, 90% is how we choose to react to it.

How old are you? How many years did you dedicate to arrive at this level?

I’m 41 and I’m training to arrive at this level from 10 years, and not just physically, but also mentally, emotionally, spiritually, including all the experiences I had did before, even considering attempting the things that I have done.

What are your next projects or records you are planning?

I’m setting now how could I do new records. I already have had several hard challenges this year. I rode on Kilimangiaro in Africa, I ran for 235 miglia on the Criss and I have done what I consider the extreme Ironmans in the world: the Celtman man in Scotland, the Swissman in Switzerland, the Alaskaman in Alaska, and last weekend I finished which I consider the hardest Ironman, the Norseman in Norway. I am the first Ironman to make the all four in the same year.

Between now and the middle of the next year I will travel in 20 countries to go speaking and sharing my message, with the hope of empowering people to take their life and take it to another level, and help them understand what the mind and the body can truly achieve when you do the right things.

http://www.ironcowboy.com/

New book : Redefine Impossible

Calling stars and helping charities. World is changing…

Do you want yo call your favourite star ?

It’s arriving Coach4Charity, the App that connects celebrities with their fans privately.

CALL YOUR FAVORITE STAR

The dream of any fan is becoming true: connecting privately with his favourite star, singer, actor, soccer player, writer. How this magic will be possible? Very simple, a smartphone app will allow “everybody” to call his or her star and also receive from him or her very precious advices on how having the big carrier he or she has had. But the secret of the App, because the difficult is on persuading big celebrities to share part of their super private time to normal people, is another. So, how this can happen?

CHARITING OPENS ALL HEARTS

Big VIPs, big stars and all celebrities are not new to being involved charity activities, and with the Coach4Charity App they make available part of their time and their knowledge to a user, typically a fan, winner of an auction that let the person to be in contact with the star. The magic thing is that the proceeds go to a charity or a charity project choosen by the VIP.

MONEY MONEY MONEY

It’s for sure that this App, now startupping and busy in the selection of the most important celebrities of the world, will income many millions from the many millions of fans that have not other dream that connecting with their most loved superstars. In the foresee the world auction will arrive to 20-25,000 dollars for a connection. Anyway one hour on video chatting with Brad Pitt or Angelina Jolie is estimated at this high value from many people, and maybe more…

For now let’s stay tuned and ready to download, as soon as possible, Coach4Charity !

Do you want to call your favourite star?

The war between Internet and Theatres has officially started.

Will Netflix kill the theatre movie industry?

A war between Internet and Theatres has started. Who will be the winner?

NETFLIX VS THE ‘FESTIVAL DE CANNES’

The selectors of the most important film festival in the world has included in the official selection two movies produced by Netflix. Everybody have been happy for that, especially for the new languages and topics that usually Netflix series drives get with them. This was until someone discovered the Netflix had already decided not to sell its movies to any theather distributions, because their business model is based on actracting subscribers with new and original contents. As a consequence the organization of the festival has decided that, starting from the next year, movies that does not declare their availability for a theatre distribution, at least in France, will be not admitted. Yes, but what’s happening to movie industry?

THE INTERNET BRANDS IN ACTION

Like Amazon started with books and now sells toasters, Netflix has started with VHS in renting, now produces movies and we can believe that, in the future…  will sell toasters. Why? Because the only thing that internet companies want are: 1. Having mass of private consumers connection and profile; 2. Selling them everything they can. Probably in the future there will be a close network of companies networked and engaged to connect with people and sell everything to them. But how can they afford this? Why no other competitors have started similar paths?

WHO WILL WIN THE WAR?

Today everybody think that these big internet companies will dominate the world, but it’s not different to what people thought when postal catalogues started their promo, remaining, after some years, just a few percentage of the market and then closing. This happened because the real contact always wins versus the imaginary, like words-of-mouth always wins on advertises, and for the simple reason that proposing products in special offer from a long distance become a stronge incentive to sell the same things on the normal retail network, thing that has always happened. It’s not for a case that we eveybody are ‘in social’ but a bit bored about that and we are using social portals at 99% as a communication tools, only as an extended network of people we know and not as the entertainement system internet companies has tried to create. At the end imaginery is not so interesting and the person-to-person contact will always win.

For the same reason we all love the real sharing of the theaters that will never die.

So Netflix, please, Go Home (and not into the theatres)!  😊

We All Go To Cannes Film Festival

Cannes: for 2 weeks main capital in the World of Imaginary

Every year the same question: why all those people go to Cannes?
Festival de Cannes: The biggest movie show in the world

Cannes, the ‘one and only’ town that for two weeks every year becomes the City Of The Movies, main capital of the motion picture “industries and lights”, is starting its engine. Almost 200 movies will be presented, showed, talked about to and from a primary audience of thousand people that have only one thing in their mind: CINEMA.

Cannes News of 2017

As about all the 70 previous editions Cannes has not any news in the organization. In a very known and loved format the festival shows new stars and old ones, a lot a new movies and some big classics, a number of movies shown inside big and small theatres and others during the famous projections on the beach in the evening. Three kinds of people will be presented to the audience: directors, big stars and big actors. So, what we should expect from the Festival? Why thousand of us go there? What makes the “Festival de Cannes” so magic and special? Audience cannot go inside to watch any movie and red carpet is totally occupied by photographers and tv cameras on both sides, but an oceanic number of people arrive there in those days to be there. Why? What’s always new in the festival?

The history of the history

The answer is simple: just taking a look at the awarded movies, and also watching the movies themselves of course, along the many years from 1939 to now, is easily understandable that there are no a topics, issues, a social dynamic steps, cultural developed paths, that we can consider very important in these decades, that has not been narrated in some movie here. We could say that, looking at this 70 years, no social event could be really told that has not been represented in the motion picture imaginary as seen in the ‘Festival de Cannes’. Yes, a lot of movies that we love have not been awarded and much other not even selected, maybe the festival falls in love more with directors then with movies, we also can say that sometimes is “too much French” (but France is at the 4th position as awarded movies after Usa, Italy and Uk)…

It’s a kind of magic

But one thing we ca say for sure: being there is being in the cinema people, or, more, being in the “world” people that go there, or, even more, in the big flow of human history represented by the ‘Festival de Cannes’ movie. Inside the light and magic illusion of this magic place we really think  to be inside in the world imaginery… forever !

So, let’s meet in Cannes… even this year !

Giuseppe Amodio - Copyright 2020 - P.I. 03111640599 - Privacy Policy