Born in Rome in 1953, Castellitto graduated from film school in 1978 and credits American cinema with pushing him toward a career in acting. His work has garnered numerous accolades, largely due to his immersive, original approach to projects in film, television and theatre. Castellitto is fluent in French and English, which has contributed mightily to his international stardom. But it's the actor's trademark brown eyes and charming everyman qualities that have lent his various characters -- even the ones that are rough around the edges -- an air of dignity that other actors might not have achieved.
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| Sergio Castellitto and Margaret Mazzantini, 2005 |
Films such as "Paura e Amore," "L'uomo delle stelle," "Caterina va in città," and "Bella Martha" heralded Castellitto as a versatile artist with far-reaching abilities. But it was the success of his 2004 film, "Non ti muovere," which he co-wrote, directed and starred in, that catapulted his career to the next level. The screenplay was adapted from a novel by his wife, Margaret Mazzantini, and earned raves from audiences and critics worldwide. The film is heavy and deeply emotional on many levels. It explores adultery, representing many points of view, including the husband, wife and mistress. It touches on the relationships between a father and a daughter and a mother and a daughter, uncovering the differences. It is a story of humanity: the inner struggle with right and wrong, the ability and inability to make peace with our mistakes, and the challenge of being honest and moving through life with respect and dignity. It’s about living and dying. It’s about love, anger, passion, choices and consequences.
In 2008, he worked with fellow actor Pierfrancesco Favino on the American action-adventure film "The Chronicles of Narnia: Prince Caspian." The role offered Castellitto a great opportunity to reveal a lighter, more adventurous side, a departure from his more traditional, heavier Italian roles. 
Castellitto teamed up again with Cruz for "Venuto al mondo" (Twice Born). Adapted from Mazzantini's novel, the film is set in Sarajevo and tells the story of Gemma and Diego, a couple whose relationship is torn apart by war. Gemma returns to the city after escaping years earlier with her son, played by Pietro Castellitto, the son of Castellitto and Mazzantini. The two are forced to face the toll that war took on their lives, and they experience the power of love as it helps to redeem what was lost. The film premiered at the 2012 Toronto International Film Festival.
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| With Sergio Castellitto after our interview in NYC, 2005 |
What was it like working with so many icons in the early
years of your career, and how have those experiences influenced you as a
filmmaker?
In my career, I’ve had the privilege of working with the
great directors of the past and some great actors like Marcello Mastroianni,
Vittorio Gassman and Manfredi. I’ve also
had the chance to work with some directors of my generation, so I’ve had both
experiences. Working with the masters
has helped me to understand many things about my work. I think that I grew up in an incredible
culture because Italian cinema is one of the most important in the world.
The film was inspired by a book written by my wife. When I started to read the book, I started to
imagine the images behind the words and then I started to write the first draft
of the script alone. Margaret didn’t
want to write the first draft with me because she thought that I had to be
alone to choose the direction of the movie. I think that first of all, it is a love story. You know, a love story is a real stereotype
of cinema but there is something that makes this story original. Timoteo at the beginning of the movie is
violent, but I think Timoteo is a victim of himself and when he is in Italia’s
house for the first time, he recognizes the hole he has in his soul. In a love story, there is always a
conflict. The stronger and tougher the
love story, the bigger the conflict.
How was Penelope Cruz cast for the part of Italia?
There was an opportunity to do a co-production with
Spain, but I was worried about Penelope when I met her for the first time in
Paris. I told her that I was scared
about her beauty, her glamour. I thought
that it was not correct for the character, but I think she was amazing. She
loved the character of the story and she was so generous and so available in
every way, in every scene, also the more difficult scenes, like the scene at
the beginning of the movie. It was not
so easy to act at the same time as being the director.
How do you balance a career of writing, acting and directing with being a husband and father?
For me, my work is very, very important but it is not the
most important thing. The most important things are my private world and my
relationships. The point of reference
for my work is life. It is important in
life to understand things. If you understand something in your life, you can
put your experience in your work. So,
there is no difference for me when I talk about a movie or a script with
Margaret. We never divide the experience. For me, 'Don’t Move' is not only a
movie, but an experience from my life because I think Timoteo, the main
character, is an incredible portrait of a contemporary male, a man of
today. So, I used Timoteo. I used the movie also to understand something
of myself. I am not like Timoteo, but I
feel that a dark side is in everybody. A
time arrives in your life when you have to deal with it, confront it. You can’t live all of your life without
seeing the truth.
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| At the Giornate del Cinema Lucano in Maratea, Italy |
In July of 2017, Castellitto hosted a Master Class at the Southern Italian film festival, Le Giornate del Cinema Lucano. He talked a lot about his collaboration with his writing partner/wife, Margaret Mazzantini. He called their relationship more than just a love story. He said it was destiny. Considering all the beautiful works they've created together over the years, one can't argue.
Sergio Castellitto is passionate and aggressive in his approach to his work. Whether he is working in television or film, in front of the camera or in the director's chair, he draws on his Golden Age experience to create timeless, classic films.
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