L'Italo-Americano

THURSDAY, AUGUST 24, 2017 www.italoamericano.org 28 L'Italo-Americano T he life and the career of Lina Wertmüller come to San Francisco on September 23 thanks to Cinema Italia. The Festival, which had the first 2017's edition honoring Dino Risi, focuses on the first woman in the world to receive a nomination for the Academy Award as best director. 'Dietro gli occhiali bianchi' - Behind the White Glasses, whose author, Valerio Ruiz, is Lina's assistant director and right-hand man, reveals Lina's personality while letting the audience partici- pate in her artistic experience. As pointed by Director Valerio Ruiz, "Lina had always been a bit hid- den behind the mask of her white glasses, however, since I had the chance to know her world so well at the point, I decided to share my beautiful, human experience and make a docu-film out of it." Mr Ruiz met Lina Wertmüller in 2006 during the Culture Management summer school at the Ravello Festival, while she was acting as the artistic director of the Cinema section. The school was founded by Valerio's university Professor, Domenico De Masi, who was also the President of this amazing event. The Festival started as a tribute to Richard Wagner's music, howev- er Mr De Masi transformed it in a three months international event, where all the muses of the arts were represented: symphonic and chamber music, theatre, dance, cinema and visual arts. "I had the privilege to become Lina's collaborator in the artistic direction of the 2007 Festival edition", Mr Ruiz added. "During the Festival I talked to Lina many times about my passion for cine- ma and my will to become a film director. She gave me sugges- tions and shared more about the movies she had written. She has always believed that the best way to learn how to make movies is through experience (rather than school lessons), nevertheless she gave me the great chance to be part of her small team of assistant directors." Valerio, what can you recall about the beginning of your work with Lina? When I started, I was both happy and nervous: when Lina writes and prepares the movie, she is very calm and sweet. When she is on set, she turns into a strong leader, and she can be rude sometimes. At the very beginning, it was not easy - I was 21 years old - but I really appre- ciate every moment I could spend on the set with her. It was a rare opportunity to see and learn from a great director's experience. I will always be grateful to her. What would you consider the best part of this collabora- tion? Lina involved me in many projects. She also allowed me to collaborate on scripts and plays: this is priceless to me. I can't mention a moment in particular. Lina is a master in writing and directing actors. I can look back at my whole collaboration with her and see the way I've improved since the Ravello Festival. I started as assistant director, after few years I could make my first feature documen- tary and now I feel ready to make a narrative movie. In few words, this describes how intense and positive the collaboration with Lina was. When did you decide to film SERENA PERFETTO Valerio Ruiz's Docu-Film on Lina Wertmüller's Talent and Story at Cinema Italia this September the documentary and why? Lina is a unique artist. I love her movies because they reflect her personality, her joy of life, her social commitment, and her irony. Nobody had ever directed a documentary about Lina's incredible life and career, so I thought I had to do it. Which is Lina's aspect that you liked the most and you want to communicate through this piece of work? I think it's her versatile talent and her irony. She made movies, wrote plays, many songs... she can even sing. She is the most ingenious person I have ever met in my life. I tried to convey her vibrant, artistic vitality in my documentary. Which is Lina's comment about the documentary you will probably never forget? She simply said "Good job" after watching the movie and before sending the copy to the Venice Film Festival. She did not interfere with the creative process and her opinion was a concern. It must have been odd - for her - to watch her own life on the screen, and that's understandable. I have to say, I didn't follow an histori- cal approach to the narrative, I tried to make a moving portrait of her. That was a risk, but luckily she liked it. Your documentary will be screened in San Francisco in September. Which reaction do you expect from the audience? I hope the audience will enjoy and will be amused and moved at the same time. At the New York's Quad Cinema, the movie had a very warm welcome. Why do you believe it's important to kick off the festi- val with this documentary? It's a way to pay tribute to Lina Wertmüller's entire career and to focus on her unique style and life experience. It's also a positive experiment in the docu- mentary genre. Will we have the pleasure to have you in San Francisco for Cinema Italia? Yes, I will be in San Francisco in September. I'm very pleased that Cinema Italia invited me to present Behind the White Glasses. Furthermore, San Francisco has a special place in my heart because part of my fam- ily lives there. I'm so happy to show them my work. Lina Wertmuller on set (ph: Emanuele Ruiz) SAN FRANCISCO ITALIAN COMMUNITY

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