L'Italo-Americano

THURSDAY, AUGUST 21, 2025 www.italoamericano.org 30 L'Italo-Americano And now you're work- ing there? Y e s . I w o r k i n c r e a t i v e development: we review ini- tial presentations, analyze scripts, and explore how the stories function. I still do art- work, but the focus is story- telling. Finally, I feel in the right place. How does the project d e v e l o p m e n t p r o c e s s work at Disney? Creators prepare a presen- tation deck with the story, part of the script, and accom- panying art: the full concept. I help teams at this stage: reading scripts, suggesting changes, strengthening char- acter arcs, identifying miss- ing emotional payoffs, or pointing out similarities to existing films. We refine the artwork and resubmit the pitch. Nothing is announced until a project is selected, because everything remains under evaluation. H o w d o e s c o s t u m e design work? ters, used later for posters, advertising, and products. But I realized I missed story- telling. I wanted to work on art that served the story, not just marketing. A n d t h a t ' s w h a t brought you to Los Ange- les? Exactly. I worked first at Disney Publishing, then at Skydance Animation on Ray G u n n , a B r a d B i r d f i l m . Afterwards, I moved to Dis- ney TV in artistic production. What made you shift your focus? I realized that creating art alone wasn't enough. I fell in love with Disney films as a child, but it wasn't just the drawings, it was the story that moved me. If the script doesn't engage me, I lose interest. Some colleagues live to draw: that's their talent. I need meaning, a message. I s t a r t e d w r i t i n g n o t e s o n scripts, and the studio told me: "Maybe your place is in creative development." It always begins with the script: you need to determine whether the story is set in a real era or a fictional world. If it's, for example, the 1920s, you must research fabrics, cuts, and accessories. Then you're assigned characters: a s o l d i e r , a s e c r e t a r y , o r a prince, and you create cos- tumes that fit their role, often proposing ten to fifteen alter- natives. And the next steps? I present options to the d i r e c t o r , w h o s e l e c t s favorites and often requests variations: different colors, patterns, or accessories. I might redo a costume in mul- tiple colorways or propose different hairstyles and jew- e l r y . O n c e t h e d e s i g n i s approved, the 3D team mod- els it digitally. I then ensure it aligns with the original vision, making adjustments until the 3D character works perfectly. W h i c h p a r t o f t h e work do you enjoy most? Visual development. It's incredible because it means translating ideas written in the script into visual solu- tions. If the script says "the monkey becomes transpar- e n t , " y o u c a n ' t j u s t s h o w nothing, you have to make it readable for the audience. Does it glow yellow? Have a magical shimmer? Partially vanish? Our job is to bring those ideas to life, because t h e w r i t e r s a r e t h i n k i n g about the story, but it's up to us to make it visible. And is there an artist you especially admire? G l e n K e a n e , w i t h o u t a doubt. He's one of Disney's greatest animators. You rec- ognize his drawings immedi- ately: he did Tarzan, The Lit- tle Mermaid, and more. His style is pure drawing, expres- sive animation. Looking back, how do you view your journey? I don't see it as changing my mind, but evolving. Every c h o i c e , e v e n t h o s e t h a t seemed far from my nature, taught me something essen- t i a l . S o c i e t y o f t e n j u d g e s those who change paths as unsatisfied, but it's not true: sometimes it's the only way to discover who you really are and what you truly want. helped my sister, who was working as an illustrator, and that's when I realized I couldn't escape it: I loved illustrated books. I tried dif- ferent schools, including in Los Angeles, but ultimately won a scholarship to an ani- mation school in Tokyo. What was your experi- ence in Japan like? I t w a s i n c r e d i b l e b u t tough. The scholarship cov- ered school, but I supported myself by teaching English for four years. I learned that I can't do work that doesn't inspire me, the compromise would be too great. Eventu- ally, I completed an intern- ship at Disney Tokyo as a c h a r a c t e r a r t i s t . I t w a s a dream come true. W h y d i d y o u l e a v e Tokyo? Visa issues: I didn't have t h e q u a l i f i c a t i o n s f o r a n artistic permit. I was offered the same role in Munich, which I accepted. I contin- ued drawing Disney charac- M a r t i n a Rosazza is from Pied- m o n t , b u t h e r c h i l d - hood was a journey across cultures: born and raised in Africa due to her parents' work, she grew up surround- ed by art and freedom. Bril- liant at school but bored by numbers, she quickly discov- ered that her true energy came from colors, drawings, and stories. Today, five years after moving to California, she brings that passion to life at Disney Studios in Los Angeles, creating charac- ters, costumes, and narra- tives that blend magic, poet- r y , a n d e m o t i o n a l d e p t h . "Disney is my professional soulmate," Martina admits. Her journey has taken her beyond drawing alone: she is now also a creative develop- er, guiding teams in shaping stories, developing charac- ters, and defining narrative arcs. From initial ideas to p r o d u c t i o n , s h e e n s u r e s every visual detail supports the heart of the story. In this way, her love for illustration and storytelling, born from childhood books and sketch- es, finally finds its place in animated worlds. Martina, how did your e d u c a t i o n a n d c a r e e r path unfold? It wasn't linear. I excelled at school, and everyone – t e a c h e r s i n p a r t i c u l a r – assumed I would attend a science high school. My sis- ters, on the other hand, fol- lowed the family's artistic streak and went to art school. I wanted to do the same, but I let others' opinions influ- ence me. Choosing the artis- tic path almost felt wrong. So I ended up in science school. I did well, but deep down I knew it wasn't my path. When did you realize that art was truly what you wanted? D u r i n g u n i v e r s i t y . I enrolled in Language and Literature, a compromise between my artistic desires and a more "serious" educa- t i o n . A t t h e s a m e t i m e , I Martina Rosazza (above) is originally from Piedmont (Photo courtesy of Martina Rosazza) The creative journey of Martina Rosazza: character and story development at Disney SILVIA NITTOLI LOS ANGELES ITALIAN COMMUNITY

• Cover