“I was the target of the kids in the classroom. The day I lost my mother at 9, things changed. The success in the cinema was a compensation ». The actor received the “Truffaut” award at the Giffoni Festival and will go to the Venice Film Festival with two films.
Silvio Orlando received the «Truffaut» prize in front of the young audience of the Giffoni Festival. «Let’s say it sounds good, it’s a useful recognition that connects you to what cinema should have as its mission: education and instilling little sparks. At the entrance of the house I have the large poster de The 400 shots. I have a difficult childhood in common ».
She lost her mother at nine.
“For a long time I never talked about it. I just couldn’t. Her tumor was a taboo, it was a request for pity and condescension, the things I hate most … The aunts or pseudo aunts who tell you call me mom … I have never succumbed to these suggestions ».
“Then I felt that I had to change, because that’s where my being an actor comes from, you’re looking for compensation from life. First my classmates put me in the middle, then, when I became an orphan, at school the teachers raised my grades, the girls gave me kisses, the children began to consider me. The day another orphan came to class, my new one status he was mad. ‘
“He didn’t like fuss. I have two types of blood, the Neapolitan one that leads me to indolence, tenderness and poetry, and the Samnite one that I got from my father, the hard, strong temper. Dad is gone but he saw something of me, for example The bag holder, for which a newspaper in the South called me deadly inexpressive ».
You have two films in Venice.
“There is an element that binds The hidden child that Roberto Andò drew from his novel (it is the story of a piano teacher and a child who hides in his home, the son of a Camorrista), to Ariaferma by Leonardo Di Costanzo: here I am the head of the prisoners and Toni Servillo the head of the agents, in a decommissioned prison where a suspended atmosphere reigns. It’s a film about the absurdity of prison. Sometimes the state takes revenge, it keeps people in a suspension of life that is also the life of the guards, so repetitive and obsessive in opening and closing gates. The common theme is the violence suffered and returned, the thought of saving others and instead it is others who save us. The theme is how to break the vicious circle of violence. I consider them two examples of civil cinema ».
In Venice the capacity of the halls will be half, the parties for the Europeans …
«I believe that those two hours of people celebrating the football victory had the same impact as two theatrical seasons. If the virus was the last blow to theaters? With the beautiful TVs we bought ourselves, we miss them less. But I saw Bellocchio e at the cinema Another round and you feel the vibrations ».
She is experiencing a splendid maturity.
«From 30 to 40 I already had central roles, but I feel safer after the Coppa Volpi for Giovanna’s father by Pupi Avati and the cardinal by The Young Pope by Sorrentino, which marked this new phase. It works like this, you get better and there are fewer roles. With Paolo you have to be careful not to ruin the film, which is all in his head. With Nanni Moretti instead … ».
He said he was his voluntary martyr.
He smiles: «Nanni didn’t invent me as an actor, but I wouldn’t have done it like I did. He qualified my path in a sensational way ».
«When I did TV, but as a boy I never wanted to be Mike Bongiorno. As part of the dream, I moved between Mastroianni and De Niro. The TV remains an appliance, useful, invasive, pervasive. The people who work inside that box get a little sick, they are obsessed with that thing about the result, the auditel ».
You say being on the left is an inhuman effort.
«Historically, the left deals with dreams, which are inadequate while the right with desires, easier to achieve. It is difficult to define oneself as a leftist: according to what parameters, that of a trade unionist of the 1950s, or of an actor of the 2000s? In the end you try to do your job well ».
«I would like to build a repertoire for them, a version of Life ahead of him by Romain Gary, among other things it speaks of an orphan who is the real handicap, rather than being poor. It is the story of a child with his life ahead of him, distressed by having this journey without the chance to make it, on paper. Thinking about my job, talent doesn’t always equate to passion ».
August 5, 2021 (change August 5, 2021 | 16:56)
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