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Caravaggio PDF
Caravaggio PDF
Caravaggio
A film devoted to Michelangelo Merisi, universally recognized by the pseudonym Caravaggioan extremely tormented
character and celebrated artist of the seventeenth centurywill be shown on Italys RAI Uno TV channel and in movie theatres in
two distinct versions this year. The film directed by Angelo Longoni and shot by the three-time Oscar-winning cinematographer
Vittorio Storaro, ASC, AIC was produced by Ida Di Benedettos company Titania with RAI, in co-production with France, Spain and
Germany. InCamera met the legendary cinematographer Storaro to find out what motivated him to sign on to this project.
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How much did the work
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of Caravaggio stimulate
and inspire your own
personal artistic journey?
Just as a writer tells a
story with words and a
A musician expresses a
mood with music, we cinematographers write and transmit
emotions through the harmony
and conflict between light and
shadow.
The intersection of these two
entities generates colours. When
I made Tis Pity Shes A Whore and
Giordano Bruno at the beginning of
my career, I wasnt aware of the
profound symbolic and conceptual
meaning of these elements, but
possessed a purely technical
preparation from my studies in
cinema and photography. It was
then that I visited the Church of
San Luigi dei Francesi in the centre
of Rome with my fiance Tonia,
who later became my wife. There I
made a discovery that changed my
whole way of life and my approach
to images. I discovered through
an analysis of a few paintings,
how much the use of light and
shadowdirected, concealed,
or filtered on a subjectcould
underline and emphasize a
concept written in words. Thus the
viewer watching a complex work
like a film and experiencing the
sensations arising from the energy
flows on the screen, can feel an
emotion.
While I was walking
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around inside the church,
I discovered the
Contarelli Chapel, decorated with
extraordinary paintings by an
artist whose name I didnt know
at the time. One in particular took
my breath away: The Calling of St
Matthew, which I later learned was
by Caravaggio.
The thing that struck me
was the extraordinary vision of
something that I was actually
putting in scenes back then: a
clean separation between light
and shadow. I was so bowled
over by that painting that I felt
immediately impelled to try
and understand and deepen the
relationship between these two
elements, to understand the most
hidden, innermost meaning of that
light. I had to take my studies to
a level that enabled me to grasp
the intrinsic significance of that
representation.
Caravaggio was in fact a great
filmmaker, he conceptualized
the subject and the composition,
chose the figures, did the
costumes, designed the sets,
and illuminated them like a
master cinematographer. As in
the great revolutions in cinema,
Caravaggio moved from natural
light to artificial light, From Judith
Beheading Holofernes on, the
subjects of his paintings were
almost always illuminated by a
lantern. In fact, we are seeing
the completion of a cycle in
Caravaggios painting: first he
used natural light as seen and
reflected in a mirror that framed
his subjects, followed by the
In general, I think
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that negative film is
much more sensitive
than the technicians say; at least
there is the possibility of recording
the emotions of people who
participate in the construction
of the images themselves.
Looking at an image projected
on a large or small screen, it is
possible to feel the harmony or
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I think it is extremely
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important not to use
only one type of film for
all the needs that natural light and
artificial light present, in the high
and low tonalities they produce. I
think it is a big mistake to lose the
multitude of tonalities that these
films are able to register when
each one is used specifically for
the light appropriate to it. That is
lost when you decide to use just
one for all the different lighting
situations while shooting a film.
Kodak films (5201-52055217-5218), with their proven
consistency and the reversibility
between them, enable the
indispensable matching of the
various scenes during the editing,
because they provide maximal
tonal and chromatic registration
in the different situations of
NATURAL or ARTIFICIAL light,
in low or high intensity, with
a range from 50 to 500 ASA.
Univisium is a system that allows
you to save 25 percent on the
cost of classic 35mm, thanks to
the use of three perforations in
the negative instead of four, and
to have 25 percent more time for
creativity while shooting, which
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