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Il direttore della fotografia Italo Petriccione utilizza lenti e luci ARRI per raccontare un viaggio attraverso il tempo e i colori

13/10/2022

Il direttore della fotografia Italo Petriccione, che ha all'attivo oltre 50 film dal 1986 a oggi. Nel corso degli anni, ha spesso collaborato con il regista Gabriele Salvatores dentro e fuori dai set. Ho iniziato a lavorare con Gabriele Salvatores con Marrakech Express nel 1988 e da allora la nostra collaborazione non si mai interrotta. Se a questo aggiungiamo che la nostra amicizia ha ormai superato il mezzo secolo, non c' bisogno di sottolineare la nostra intesa professionale. Da molto tempo cercavo di portare Gabriele al bianco e nero, anche perch da giovane ero appassionato di fotografia e scattavo e stampavo rigorosamente in bianco e nero. Con Il ritorno di Casanova , Petriccione ci infine riuscito nel convincere il regista a implementare un design cromatico unico.il nuovo film di Gabriele Salvatores, interpretato da Fabrizio Bentivoglio, Toni Servillo e Sara Serraiocco, propone una storia con due diversi livelli temporali: uno catturato a colori, laltro in bianco e nero.

Copyright Indiana Production S.p.A

Il ritorno di Casanova racconta una storia con due diversi periodi temporali a colori e in bianco e nero

Il ritorno di Casanova si muove su due piani temporali, come avete gestito lo stile visivo?

Il film narra la vicenda di un regista premio Oscar Leo (Toni Servillo) che, terminate le riprese dell'ultimo film, in preda all'ansia, spaventato dal ritorno alla complicata vita quotidiana. Et e paure sono le stesse del protagonista del suo nuovo film, un Casanova maturo (Fabrizio Bentivoglio) che soffre il declino dovuto al passare del tempo. Con l'avvicinarsi della vecchiaia, svanisce la sua capacit di seduzione, cos come svanisce per il regista Leo la presa sul pubblico, ora attratto da un giovane regista apprezzato dalla critica. Sono due personaggi speculari con le stesse angosce, che vedono la giovinezza degli altri come un'insidia costante al loro status: seppur separati da quasi tre secoli, i due sono molto vicini emotivamente. Con Gabriele abbiamo ragionato a lungo su come declinare i diversi piani temporali, poi abbiamo deciso di usare il colore per la parte in costume e il bianco e nero per quella ai giorni nostri.

Copyright Italo Petriccione

Il direttore della fotografia Italo Petriccione e il regista Gabriele Salvatores hanno lavorato insieme per oltre 30 anni

Ti sono stati indicati riferimenti particolari?

Per la parte a colori, con le atmosfere a lume di candela, la sontuosit delle location e dei costumi e una densit dell'immagine ispirata al cinema in pellicola, era ben presente in noi Barry Lyndon, ma non solo. Per la parte contemporanea, invece, caratterizzata da un bianco e nero secco, inciso, dai contrasti forti e dalle simmetrie compositive dichiarate che rilanciano il disagio della vita quotidiana, avevamo in mente il cinema in B/N di Gordon Willis con Woody Allen o quello di Martin Scorsese, ma anche la bellezza delle immagini dei grandi Dop italiani degli anni 50 e '60, come Leonida Barboni, G.R. Aldo, Peppino Rotunno e molti altri di quella fantastica stagione del nostro cinema.

Copyright Indiana Production S.p.A

Riprese a colori: le parti in costume de Il ritorno di Casanova

Quante sono state le settimane di riprese e in quali location avete girato?

Con un budget di sette milioni di euro abbiamo girato cinque settimane in Veneto, tra la provincia di Verona e Venezia, e quattro a Milano. Un set importante per ambienti e giorni di ripresa stata Villa Dionisi a Cerea, splendida dimora settecentesca con un grande parco in cui abbiamo ambientato molti interni ed esterni della parte d'epoca.

Copyright Italo Petriccione

Il direttore della fotografia Italo Petriccione ha girato per nove settimane Il ritorno di Casanova in diverse localit italiane

Ci sono state difficolt pratiche particolari per girare in alcune location?

C' una scena in cui Casanova torna a Venezia all'alba in gondola e una in cui il regista alla Mostra del Cinema. Girare a Venezia di per s complicato, ma avere tutta una scena all'alba, e per di pi con ambientazione settecentesca, rendeva tutto ancor pi difficile. Avevamo solo una quarantina di minuti per le riprese, poi saremmo stati invasi dai turisti e dal traffico delle imbarcazioni. Dovevamo seguire Casanova che, in gondola, ammirava la sua Venezia dopo anni di esilio. Alla fine abbiamo terminato le riprese appena in tempo, utilizzando una barca di appoggio su cui era montato un modular Crane e con una seconda macchina a terra per riprendere il passaggio della gondola dai ponti e tra le calli. Finito l'ultimo ciak, tra turisti, vaporetti e navi da crociera si scatenato l'inferno! Abbiamo poi girato il finale della parte moderna sul tappeto rosso della Mostra del Cinema dove, oltre a un rigido cerimoniale con operatori e assistenti in giacca e cravatta e a un controllo di polizia minuzioso, abbiamo dovuto adattarci alla situazione. Una parte delle riprese stata ricostruita dopo la mezzanotte, a proiezioni finite, una parte stata rubata . Ho fatto mettere una chiave di croma nel grande schermo che rilanciava i trailer dei film e ho avuto la collaborazione del responsabile luci del festival, che mi ha consentito di spegnere o regolare l'impianto esistente, cui ho aggiunto piccole integrazioni.

Copyright Indiana Production S.p.A

Casanova che rientra a Venezia allalba a bordo di una gondola

Quali lenti i hai utilizzato?

Per la parte contemporanea ho utilizzato gli ARRI Signature Primes scegliendo il grande formato, mentre per le parti in costume ho utilizzato una serie di Cooke Pancro vintage su Super 35. Differenziare la due epoche con colore e B/N, utilizzare formati diversi del sensore e obiettivi con progetti ottici cos differenti mi sembrava l'approccio pi giusto. Conoscevo bene i Cooke Pancro degli anni '50,
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