LUCE estratti LUCE 313_Cillo_Silvia Tarquini | Page 8

Paolo Sorrentino e Luca Bigazzi
(in secondo piano) sul set de
La grande bellezza (2014).
Foto © Gianni Fiorito
Il regista e direttore della
fotografia Daniele Ciprì sul set
de Il traduttore di Massimo
Natale (2015).
Foto © Sara Casna
Lanci. Nostalghia di Andrej
Tarkovskij, direttore della
fotografia Beppe Lanci (1983),
Foto Bruno Bruni
Enzo Cillo (Maddaloni, CE, 1985) che ha curato
l’intervista, si è laureato presso l’Accademia
di Belle Arti di Napoli in Arti visive,
specializzandosi in Fotografia come linguaggio
d’arte. Alla base del suo percorso c’è la
pittura, dalla quale passa alla fotografia e al
video. Con il corto SUB vince la sezione Short
Cuts del Detour on the Road Film Festival
2014, Roma, e partecipa al festival Signes de
nuit, Lisbona. Per Artdigiland sta lavorando
a un documentario su Fabrizio Crisafulli.  
Vive e lavora tra Napoli e Roma. 
Enzo Cillo (Maddaloni, CE, 1985) who edited
the interview, graduates at the School of Fine
Arts in Naples, specializes in Photography as
language of art. Painting represents the basis of
a long path, passing then through photography
and arriving at video. With the short SUB
won the Short Cuts section of Detour on
the Road Film Festival 2014, Rome, and takes
part in Signes de nuit Festival, Lisbona. For
Artdigiland is working on a documentary on
Fabrizio Crisafulli. He currently lives and works
shuttling between Naples and Rome.
Which is the next volume of the series?
It is an interview-book on the director of
photography and movie director Daniele
Ciprì, who perhaps today is better known
for his long collaboration with Franco
Maresco, as Ciprì & Maresco. Ciprì is a
true artist, a great director of photography.
The Interview is carried out by Elena Fedeli
who is a director of photography too.
From our very first meetings, I understood
that Ciprì is greatly interested in the deep
connection between light and the story.
He is Sicilian and for him the “cunto” i.e.
the story, is important. I was surprised by
his convinced position in favour of film
and versus digital material, a position that
is the opposite of that of Bigazzi. I found
the reasons he mentioned in favour of
this choice surprising and deep. Ciprì can
distinguish between an image on film and
a digital image. He states that an image
on film must be formed by reflecting the
mental image of the narrator, and therefore
the narrator’s personality, and his world
of hearing and imagination. For him there
cannot be only one canon, only one techni-
cal standard. The light of the film, through
technique, must be the same as the artist’s
unconscious, the same as his inner vision.
LUCE 313
Does the interview-book format have
a particular scope?
This choice is based on the conviction
that artistic work is deeply entwined
with personal aspects, with life. In order
to understand an artist better, I find it is
very useful, if not indispensable, to start
from his/her childhood, schooling, and
then follow his/her identification process
made of progressive stages of knowledge
and choices. In the case of Crisafulli and
Bigazzi we discovered that their aesthetical
sense is deeply tied to rigorous ethical po-
sitions, in the case of Lanci to an approach
based on spirituality. In these volumes we
try to mix and blend the story and reflec-
tions with regard to the aesthetical and
technical aspects. The identification of the
right structure, which is different for each
book, is a very creative and fascinating
task, which calls for great care and a long
elaboration period. It also involves a great
commitment of the artist who is invited to
remember, to reflect and to recall thoughts,
choices and experience with a particular
amount of detail.
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