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Interview: Francesca Serafini Brings Claudio Caligari's Vision to Life in "Non essere cattivo"

When I first contacted screenwriter Francesca Serafini for an interview, I had no idea the incredible day I would have translating her words. Not only did I appreciate the information in her responses to my questions, but I also appreciated her poetic way of writing them. She has her craft down to a science, and it's no surprise since she majored in the History of Italian Language in college. Upon graduation, she began her career writing books and then in 2003, shifted her focus to screenwriting. Since then, she has worked in both film and television. Her latest project, “Non essere cattivo” has cast an international spotlight on her talent, and tonight she will present the film in Los Angeles.

Directed by Claudio Caligari whose work was strongly influenced by Pier Paolo Pasolini, “Non essere cattivo” has echoes of Pasolini's 1961 film “Accattone” as well as his literary works. Serafini along with her collaborators Giordano Meacci and Caligari delve deeply into the bond of friendship between their characters Cesare and Vittorio. The outcome is an emotional story, which explores a dark road too often traveled by young people whose lives lack the culture and guidance needed to stay on the right track.
During our interview, Serafini talked about the tight bond of friendship between her protagonists, her method of character development and the direction of contemporary Italian cinema.
Our interview was done in Italian and translated into English. Both versions are included.
How did this story come about?
The story comes from Claudio Caligari’s curiosity to investigate humanity on the edge, like the Roman town in the film, which is not that different from the suburbs of any major city in the world. To quote a line from Pasolini, Caligari moved into that particular hell "with a strong desire to understand it." And, then he came to love it. The story was built on ideas drawn from reality, a cinematic story and then by mixing arthouse films with pop-culture. 

Come nasce la storia?
La storia nasce dalla curiosità di Caligari di indagare un’umanità ai margini, come è quella della borgata romana che non è poi diversa dai sobborghi di qualunque grande città del mondo. Per citare un verso di Pasolini, Caligari si è mosso in quell’inferno “con marmorea volontà di capirlo”. E di amarlo, poi. Costruendo sugli spunti attinti appunto alla realtà, un racconto cinematografico tutto suo, mescolando il grande cinema d’autore con il racconto popolare di genere. 

"Non essere cattivo" is becoming very popular worldwide. What qualities make this story so universal?
I think what makes this movie emotional regardless of  location is the extraordinary story of friendship between the two protagonists Cesare and Vittorio. In Italian, we call them “brothers for life” because their friendship is a declaration of love. We were also inspired by a book published by Pasolini called “Ragazzi di vita” (Boys of Life). In fact, Vittorio’s name was inspired by Pasolini’s character, Accattone. Cesare and Vittorio are a little like De Niro and Keitel in Scorsese’s “Mean Streets” which was also a cornerstone for Claudio Caligari, just like Pasolini. 

“Non essere cattivo” sta diventando molto populare nel mondo. Vorrei sapere le qualita’ che fa la storia cosi’ universal?
Penso che ciò che fa di questo film una storia emozionante a qualunque latitudine sia la straordinaria storia di amicizia tra i due protagonisti Cesare e Vittorio. Fratelli di vita li chiamiamo tra noi, perché la loro amicizia è una declinazione dell’amore, inteso anche in senso famigliare (senza coinvolgimenti sessuali, cioè); e perché Pasolini (al cui Accattone si deve il nome di Vittorio; mentre Cesare arriva diretto – in questa ideale trilogia a più mani – dal primo film di Caligari, Amore tossico) ha dedicato un romanzo a personaggi che hanno ispirato i nostri e che si intitola, appunto, Ragazzi di vita. Un po’ come De Niro e Keitel in Main streets di Scorsese che era per Claudio un caposaldo, proprio come Pasolini.  

Can you describe your process of developing these characters?
Claudio Caligari presented these characters Cesare and Vittoria and their story of friendship to me and Giordano Meacci, another screenwriter that worked with us. From there, we found the common ground in wanting to tell this story that began in Italy in 1995 and led up to the present day. These two characters demonstrate how easy it is to make mistakes along the way and to fall into bad situations just trying to make money to get by. Without culture and opportunity, selling drugs becomes the quickest way “to turn” (bad) as we say in Italy. In the end, they try to turn their lives around because they are moved by the love that holds them together and also to their women, who play very important roles in the film. But unfortunately, love isn’t always enough to save you.  


Mi puo’ descrivere il processo di sviluppo dei personaggi?
Claudio Caligari si è presentato da me e da Giordano Meacci (che firma con noi la sceneggiatura) con Cesare e Vittorio e la loro storia di amicizia. Da lì è partito il nostro lavoro in comune: la volontà di raccontare l’Italia che sarebbe stata oggi, a partire dal 1995 che ne segna l’inizio. Questi due personaggi sono inseriti in un contesto dove è facilissimo sbagliare; dove, per fare i soldi, è difficile non diventare cattivo (senza cultura e possibilità, lo spaccio diventa il modo più rapido per “svoltare”, come si direbbe dalle nostre parti). Eppure loro ci provano fino alla fine a non essere cattivi, mossi dall’amore che li lega tra loro e da quello che li stringe alle loro donne (le figure femminili in questo film sono molto importanti). Purtroppo a volte, in certi contesti, appunto, l’amore non basta a salvarti. 

From what I understand about this film- together with other recent releases, there seems to be a new emerging theme, and perhaps a new direction for Italian cinema.
I don’t  know if this film could represent a new direction in Italian cinema, because there are already several directions in place by Paolo Sorrentino, who is very loved by me, Giordano Meacci and also Caligari. Instead, I believe that it represents, along with works also by Matteo Garrone, the testimony of a certain vitality of our film, and I hope that this will encourage more quality cinema in the future. 

Da quello che capisco del film- ed insieme con altri nuovi progetti,  il tema sembra avere una nuova a direzione del cinema italiano. In merito a questa visione del cinema, quale sono i suoi pensieri?
Non so se questo film possa rappresentare una nuova direzione nel cinema italiano. Anche perché ci sono direzioni, come quella di Sorrentino, che sono molto diverse e che però sono molto amate da me e da Giordano Meacci come dallo stesso Caligari. Credo invece che rappresenti, insieme alle opere di Sorrentino, appunto, o anche di Garrone (solo per fare i due esempi più noti in America), la testimonianza di una certa vitalità della nostra cinematografia, e spero che questo incoraggi anche in futuro a investire in un cinema di qualità. 


What are your fears and emotions in knowing that the film will be presented in Los Angeles?
The only fear I have is that the film will not be seen. Then what will be, will be.. The very idea that this film could be seen outside of Italy, and in a place so important to cinema is very exciting. 

Quale sono i suoi timori e emozioni nel sapere che il film venga presentato a Los Angeles?
L’unico timore è che il film non venga visto. Poi, sarà quello che è giusto che sia. L’idea stessa che questa circostanza possa avverarsi – il fatto, appunto, che invece il film possa essere visto fuori dall’Italia, e in un contesto cinematograficamente così importante – questo è di suo molto emozionante. 

"Non essere cattivo" makes its North American premiere tonight in Los Angeles at the Egyptian Theater on the occasion of “Cinema Italian Style” - L.A.’s annual showcase of contemporary Italian cinema. We'll keep you updated on additional U.S. screenings. In the meantime, Check out Francesca Serafini's latest book "Di calcio non si parla" in which she writes about three of her passions- soccer, cinema and literature.  Click here to purchase it on Amazon.

 

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