Sunday, November 14, 2010
MUSING ABOUT MOVIEMAKING
The making of EDOnism can be defined as a kind of gestation, considering that about 9 months have passed between the first outline and the end of the post-production period. During this arc of time a lot of ideas, coincidences, revelations and unforeseen events contributed to the uniqueness of the movie. It has been a grand scale effort propelled by the target of finalizing a project that at the beginning could sound utopist, if compared to the very limited range of technical and financial resources at our disposal. Although the thematic root of the story derived from the seismic emergency that unfortunately characterized the 2009 here in Abruzzo (that’s still a dramatic issue on these days), the earthquake phenomenon doesn’t represent an excuse to give to the movie a more humanitarian or social appeal, as some documentaries and movies have done after the disaster. Indeed, what interested me most was to give a poetic representation to the link between the inner realm of human soul and the enigmatic exterior world, a theme that has been often at the core of my previous movies (as well as paintings and novels). Somehow the earthquake becomes the symbolic projection of a human interior cataclysm, an extraordinary event subverting the concept of reality, slowly getting wider proportions and involving the entire community of a city. Tokyo provided a colossal set to the movie, an emotive environment that neither digital effects nor scenography will ever be able to reproduce with the same visual power, offering the perfect physical backdrop to the metaphysical journey of the protagonist. Indeed its breathtaking amount of details properly evoked the hyper realistic visionary ambiance that I imagined while I was writing the script.
I’d like to dedicate Edonism not only to all the victims of earthquakes, but also to the people still trying to restore their humanity among the ruins of their soul.