#1: From interview [artdigiland.com, 2012]

 

   


LUCA BIGAZZI

 

Born: 1958, Milan, Italy.

Career: 'I didn't follow the usual path into filming. My first job was as an assistant director on tv commercials. After a few years, through a lucky coincidence, my next job was as the Director of Photography on a feature! I was 23 years old.'

Ph commercials, e.g. 'Allo specchio/In the Mirror' [2011, Paolo Sorrentino; for Yamamay].

Books: 'La luce necessaria. Conversazione con Luca Bigazzi' by Alberto Spadafora [Artdigiland, Dublin, 2012].

Awards: 'David di Donatello' Award [1995] for 'Lamerica'; Venice FF 'Osella d'Oro' [1998] for 'Così ridevano' & 'L'albero delle pere'; Sitges FF 'Best Cinematography Award' [1998] for 'Totò che visse due volte'; 'David di Donatello' Award [2000] for 'Pane e tulipani'; Flaiano FF Award [2002], 'David di Donatello' Award nom [2002] & Brothers Manaki IFF 'Silver Camera 300' [2002] for 'Brucio nel vento'; 'David di Donatello' Award nom [2003] for 'Un viaggio chiamato amore'; 'David di Donatello' Award [2005] for 'Le conseguenze dell'amore'; 'David di Donatello' Award [2006] for 'Romanzo criminale'; Bari IFF 'Premio Giuseppe Rotunno' [2012] for 'Io sono Li'; Manaki Brothers International Cinematographers' FF 'Bronze Camera 300' [2012] for 'This Must Be the Place'; Marburger Kamerapreis [2017].


Luca Bigazzi: 'When making a low-cost film like 'Mobbing' [2003], its tight budget and short shooting schedule challenges me to exploit the benefits of natural light. Existing light inspires me. It is this I must recreate. I learn a lot; tasks I thought I couldn’t do, I find I can do. I have more freedom of movement; the camera moves more smoothly because there are no stands and projectors to get in the way. The results were good. Photographically realistic. And the speed at which we film allows us to pay more attention to the acting.

'With so little time - a short five weeks - and such a tiny budget, why didn't I shoot digitally with all its supposed advantages of cost and immediacy? Because I am not convinced. A digital camera is light, but so is our Aaton A-Minima Super 16mm. Film needs less lighting and I prefer its versatility. And why not? When it comes to cost, the difference is not great. 'Mobbing' is a cinema film. We checked prices and found the cost of transferring digital to film completely swallowed up any apparent saving offered by digital! In this case, digital is not cheaper than film.

'Digital will continue to improve, but it has hurdles to overcome. I support the new technology. I promote its use for documentaries and similar projects. But 'Mobbing' is a cinema film, so why, given nearly the same costs, should I engage in a risky adventure, like digital? Of course, digital has improved technically, year by year. But so has film. The graininess of the new film is so reduced we could consider shooting everything in Super 16. When I saw the test results, the quality and clarity of the picture astounded me.

'But Super 16 optics are falling behind. The new Kodak VISION2 500T film 7218 is so good it cries out for better optics. For example - in our choice of focal length. There is a gap between 25mm and 50mm. We need at least a 35mm. And I'm forced to use a large aperture optic - designed for lowlight interiors - for exterior shots. I have to add so many neutral density filters to it I have problems seeing through the viewfinder!

''Mobbing' is the first Italian film shot entirely with the Aaton A-Minima. I not only directed the photography, I also operated the camera. It is hard work doing both, and my back sometimes complains, but I love operating and I like to use a hand-held camera. Its advantages are its speed, and the opportunity not to cramp the actors' style; I can follow them and allow them great freedom of interpretation.

'We succeeded because we could change scenes in seconds. We had no trolleys or huge light units to slow our work rate. By filming like this I believe Italian cinema is once again telling the truth. It is a modernized realism, made possible by the cameras, the films, and the possibility to film using only fluorescent lights. It almost represents a return to the inspirational days of our cash starved Italian cinema following the 2nd World War. To ignore the advantages of these wonderful new technical advances, and to fail to simplify the 16mm cine camera would be a sad mistake.' [From the KODAK InCamera website, October 2003.]


 

 FILMS

1982

Paesaggio con figure [Silvio Soldini] 16mm/b&w

1984

Giulia in ottobre [Silvio Soldini] 16mm/c; short/58m

1985

Incidente di percorso [Donatello Alunni Pierucci] 16mm/c; 65m

1985

Voci celate [Silvio Soldini] v/c; doc/70m

1985

T'a compris le truc? [Daniele Segre] v/c; doc/50m

1986

La fabbrica sospesa [Silvio Soldini] 16mm/c; doc/45m

1987

Nome di battaglia: Bruno [Bruno Bigoni] c; doc/19m

1987

Viva gli sposi [Giancarlo Di Re] ?

1987

Il mondo chiuso [Bruno Bigoni] v/c; doc/30m

1987

Provvisorio, quasi d'amore [seg 'Antonio e Cleo' dir by Silvio Soldini & 'Sarabande e finale' dir by Daniele Segre] 16mm/c

1989

Corsa in discesa [Corrado Franco] c; cph: Carlo Rainero

1989

L'aria serena dell'ovest [Silvio Soldini] c

1990

Lulù lunaire [Giuseppe Marini] ?

1990

L'île de France [Lorenzo Audisio & Jean Repec] 16mm/b&w; short/13m

1991

Morte di un matematico Napoletano/Death of a Neapolitan Mathematician [Mario Martone] c

1992

Nero [Giancarlo Soldi] c

1992

Ultimo respiro/Final Blow [Felice Farina] c

1992

Manila paloma blanca [Daniele Segre] b&w-c

1992

Un'anima divisa in due/A Split Soul [Silvio Soldini] c

1993

E quando lei morì fu lutto nazionale [Lucio Gaudino] c

1993

Veleno/Poison [Bruno Bigoni] c

1993

Lamerica [Gianni Amelio] c

1994

Fate in blu diesis [Silvio Soldini] BetaSP/c; short/40m

1994

Un eroe borghese/Ordinary Hero [Michele Placido] c

1994

Miracoli, storie per corti [seg/15m 'D'estate/In the Summertime' dir by Silvio Soldini] c

1994

L'amore molesto/Nasty Love [Mario Martone] c

1994

Lo zio di Brooklyn/The Uncle from Brooklyn [Daniele Ciprì & Franco Maresco] b&w

1995

Coincidenze/Coincidences [Marco Turco] c; short/11m

1995

H.C. [Valia Santella] BetaSP/b&w-c; short/7m; collab ph; ph: Valia Santella

1995

I vesuviani/The Vesuvians [seg #1 'La stirpe di Iana' dir by Pappi Corsicato] c; 5 seg

1995

La ballata dei lavavetri [Peter Del Monte] c; cph: Pasquale Mari

1995

Luna e l'altra [Maurizio Nichetti] c

1996

Le acrobate/The Acrobats [Silvio Soldini] c

1996

Testimone a rischio/An Eyewitness Account [Pasquale Pozzessere] c

1997

Claudine's Return/Kiss of Fire [Antonio Tibaldi] p/c

1997

Totò che visse due volte/Toto Who Lived Twice [Daniele Ciprì & Franco Maresco] b&w; 3 seg

 

With dir Gianni Amelio [right] - "Così ridevano"

 

1998

Così ridevano/The Way We Laughed [Gianni Amelio] c

1998

L'albero delle pere/The Pear Tree/Shooting the Moon [Francesca Archibugi] tvi/c

1998

Fuori dal mondo/Not of This World [Giuseppe Piccioni] c

1998

Il mare di sotto [Sandro Dionisio] c; short/12m

1999

Questo è il giardino [Giovanni Davide Maderna] c

1999

Per sempre [Chiara Caselli] c; short/12m

1999

Pane e tulipani/Bread and Tulips [Silvio Soldini] c

1999

Tipota [Fabrizio Bentivoglio] c; short/31m

1999

Preferisco il rumore del mare/I Prefer the Sound of the Sea [Mimmo Calopresti] c

1999

Domani/Tomorrow [Francesca Archibugi] c

2000

Lupo mannaro [Antonio Tibaldi] c

2001

Un altro mondo è possibile/Another World Is Possible [various] c; doc/60m & 120m; other ph: Franco Di Giacomo, Carlo Di Palma, a.o.

2001

Le parole di mio padre/Zeno [Francesca Comencini] c

2001

Carlo Giuliani, ragazzo/Carlo Giuliani, Boy [Francesca Comencini] c; doc/63m; with footage from 'Un altro mondo è possibile/Another World Is Possible'; cph: Mario Balsamo, Daniele Segre, Carola Spadoni, a.o.; + co-scrpl

2001

Brucio nel vento/Burning in the Wind [Silvio Soldini] cs/c

2001

Un viaggio chiamato amore/A Journey Called Love [Michele Placido] c

2002

La forza del passato/The Power of the Past/Truth and Lies [Piergiorgio Gay] c

2003

Senza freni [Felice Farina] c

2003

Mi piace lavorare [- Mobbing]/I Like Working [Francesca Comencini] s16-35bu/c; addph: Marco Onorato

2003

Le conseguenze dell'amore [Paolo Sorrentino] scope/c

2003

Le chiavi di casa [Gianni Amelio] 16mm-35bu/c

2004

Ovunque sei [Michele Placido] c

2004

L'amore ritrovato [Carlo Mazzacurati] s35/c

2004

La guerra di Mario [Antonio Capuano] c

2004

Romanzo criminale [Michele Placido] scope/c

2005

La stella che non c'è/The Missing Star [Gianni Amelio] c

2005

L'amico di famiglia/The Family Friend [Paolo Sorrentino] scope/c

2006

A casa nostra/Our Country [Francesca Comencini] c

2006

Lascia perdere, Johnny! [Fabrizio Bentivoglio] c

2006

La giusta distanza/The Right Distance [Carlo Mazzacurati] c

2007

L'ora di punta/The Trial Begins [Vincenzo Marra] c

2007

Il divo [: La spettacolare vita di Giulio Andreotti] [Paolo Sorrentino] s35/c

2007

La Siciliana ribelle/The Sicilian Girl [Marco Amenta] c

2008

Fuga dal Call Center/Escape from the Call Center [Federico Rizzo] HD-to-35mm/c

2008

Giallo? [Antonio Capuano] c; co-collab ph; ph: A. Capuano

2008

Sei Venezia/6x Venedig [Carlo Mazzacurati] c; doc/95m; filmed April 2008-December 2009

2008

Giulia non esce la sera/Giulia Doesn't Date at Night [Giuseppe Piccioni] c

2009

Lo spazio bianco/The White Space [Francesca Comencini] c

2009

Magari le cose cambiano [Andrea Segre] HD/c; doc/63m

2009

Copie conforme/Certified Copy [Abbas Kiarostami] RED-to-35mm/c

2009

La passione/The Passion [Carlo Mazzacurati] c

2010

Il sangue verde [Andrea Segre] c; doc/57m; cph: Federico Angelucci

2010

Il gioiellino/The Jewel [Andrea Molaioli] c

2010

This Must Be the Place [Paolo Sorrentino] s35 (+ D-Cinema)/c

2010

Io sono Li/Li and the Poet [Andrea Segre] 35mm scope (+ digital)/c

2011

La kryptonite nella borsa/Kryptonite! [Ivan Cotroneo] s35/c

2011

L'intervallo/The Interval [Leonardo Di Costanzo] s16-to-HD/c

2011

Belluscone. Una storia siciliana [Franco Maresco] HD-to-digital/b&w-c; cph: Tommaso Lusena & Irma Vecchio; released in 2014

 

Photo by Medici con l'Africa Cuamm

 

2012

Medici con l'Africa [Carlo Mazzacurati] HD (Sony)/c; doc/89m

2012

Un giorno speciale/Gina [Francesca Comencini] RED Epic-to-35mm scope (+ D-Cinema)/c

2012

La grande bellezza/The Great Beauty [Paolo Sorrentino] s35/c

2012

Come Tex nessuno mai [Giancarlo Soldi] c; doc/62m; cph: Giuseppe Baresi

2012

Indebito/Rebetiko Crisis: Undue Debt [Andrea Segre] HD/c; doc/84m

2012

La prima neve/First Snowfall [Andrea Segre] c

2013

L'intrepido [Gianni Amelio] 35mm scope (+ digital)/c

2013

La sedia della felicità [Carlo Mazzacurati] c

2013

Les ponts de Sarajevo/Bridges of Sarajevo/I ponti di Sarajevo [seg 'L'avamposto' dir by Leonardo Di Costanzo] HD-to-digital/b&w-c; 13 seg

2014

La giovinezza/The Early Years [Paolo Sorrentino] HD (ARRI ALEXA)-to-35mm scope (+ D-Cinema)/c

2014

Nessuno siamo perfetti [Giancarlo Soldi] c; doc/71m

2015

Morituri [Daniele Segre] c

2015

Viva la sposa [Ascanio Celestini] c

 

 TELEVISION

1988

Cuore in gola [Stefania Casini] tvm

1988

Roller Wings [- Vivere sui pattini] [Stefania Casini] tvm

1988

Frammenti d'amore [Giancarlo Soldi] 6 short films; for Rai Due-tv

1991

Errore fatale [Filippo De Luigi] 4-part miniseries

1996

Correre contro/Running Against [Antonio Tibaldi] tvm

1998

Il futuro alle spalle - voci da un'età inquieta [Silvio Soldini] doc/b&w-c/50m/BetaSP; cph: Giuseppe Baresi & Nicola Genni

2004

Visions of Europe [seg 'Anna Lives in Marghera' dir by Francesca Comencini] tvm/b&w-c/140m (25 seg)

2013

Il natale della mamma imperfetta [Ivan Cotroneo] tvm/HD