Italian-Argentine Writer Emiliano Ravenna, Discusses His Direction on CLAROSCURO

Emiliano Ravenna is an Italian-Argentine author, screenwriter and director. He was born on July 6, 1978 in Buenos Aires. Emiliano has lived in Milan Italy for almost 25 years. In Milan he attended film courses and seminars beginning with directing, then post-production and sound techniques.

The first script for an audiovisual production was Novembre (2010). The next film project was Ritual (2011). These two Italian productions screened at major local movie events. Emiliano co-wrote Linkin lives (2012), was an Italian production winner. It won Best Pitch at the prestigious film event and Trailers Film Fest 2012 Catania-Italy.

He successively wrote one episode of the film Shock, my abstraction of death (2013). It was projected in important film events also selected at the 33rd Fantafestival the film is released on DVD worldwide.

SHOCK My Abstraction of Death Official trailer

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In 2013 he returned to Buenos Aires, Argentina. He wrote and directed DeejaysXgeneration (2014). It was selected in more than 30 film festivals and finalists in several events. Among these FIBABC (Spain) Goya Awards circuit event (Ibero-American Oscars). He wrote and directed November Noir-femme fatale (2016) in official selection at various world festivals.

Special mention at the Unusual Film Festival of Buenos Aires for the rhythm, aesthetics and the search to explore a different path”. He wrote and directed City of Souls selected for multiple world festivals. Special mention at the prestigious international event FIC ESMI (Argentina).

For the first time he directed a production with a script not of his own Red Nose (2019) which was selected in several film festivals, among those again it participated in the FICABC of Spain.

He writes and directs Nazi Paradise (2021), a project that wins the Special Mention award at the Paraná International Film Festival and is currently selected in several world film festivals. At the moment he is working on a comic animation feature film Claroscuro (2021).

LINKING LIVES Screenplay by Henry Secchiaroli & Emiliano Ravenna

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indieactivity: How do you choose a project to direct?
Emiliano Ravenna (ER): I always seek to experience new things, I look for topics and arguments that may interest me, something that stimulates me to say “ok let’s go with this”. None of the productions I do resemble each other, both as a story and as an aesthetic. That is because when I finish some work I am so exhausted that I need to forget and be reborn with something new and different.

Why filmmaking and screenwriting? Why did you get into it?
Emiliano Ravenna (ER): First of all, there is passion, from my childhood onwards it was always something very automatic and pleasant to write. I love developing characters, actions, places and dialogues. I can’t spend much time without writing, it is a physical demand. The direction is consistent, I decided to direct my scripts because it was exactly what I want to convey, I was not very happy with some of my scripts that other directors filmed, not because they are bad, but because of the different points of view that each one has. I also consider myself more a writer than a director.

How can a filmmaker, if she so chooses, distribute her film? How do you get it in front of an audience?
Emiliano Ravenna (ER): There are many events dedicated to independent film, festivals, online contests, film channels, blogs, social networks, also many promotional portals, such as this prestigious medium.
Nowadays we have several alternatives to film and that is why there is also more competition. I think the important thing is that the proposed product is made with the best possible quality so that it stands out and differentiate yourself from others.

DeejaysXgeneration

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Is there anything about the making of independent film business you still struggle with?
Emiliano Ravenna (ER): Without a doubt, the struggle of independent cinema is to raise funds for its realization. In many cases, you start with a budget and eventually cut back. Ideally and where possible in this case, is to find co-productions that accompany the project to compensate for eventual cuts.

What uniqueness do female directors/filmmakers bring to film/tv/cinema?
Emiliano Ravenna (ER): I feel that, although they were present from the beginning of the cinema, unfortunately women were not considered in a balanced way with respect to men. In recent years it has improved its participation in the industry, but there is still a long way to go before it is considered a harmony of parity. For my part, it would be absolutely impossible to imagine a production without women, without their visions and observations, their charisma and above all their unique professionalism that distinguishes them.

When you are offered a project, what things do you put in place to deliver a good job?
Emiliano Ravenna (ER): First of all, I have to like the project, whatever the subject is, I have to be passionate about it, it must be in my head and I’m almost forced to do it. I know that if I decide to collaborate I will spend a lot of time on it.

Noviembre noir Femme Fatale

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How do you find the process of filmmaking as an indie filmmaker?
ER: Above all, you need an infinite desire to film, immerse yourself and dedicate yourself completely in everything which involves the production: several script rewritings, resource theme, co-productions, artistic casting and technical, search for locations, changing rooms, scenography, lighting, etc.

It is true that we do not take care of everything ourselves and we turn to experts who do it and suggest to us according to our indications, while one can concentrate on the emotions and in what to convey in the scenes, but it also requires a great concentration and total control over the project. Then, in the case of independent cinema, the effort does not end with the finished production, it is necessary to start with the visibility and distribution process, which in itself is quite complex.

Why would you choose an actor, writer or producer? What do you look for?
ER: More than what I am looking for is what the person can give me in a certain production and according to what I am trying to do. First, the tuning, the connection and the time you can dedicate is essential. You also have to be very charismatic in transmitting and moving potential team members, it is very important and it is greatly amplified if I have already identified the perfect person for that role and I want him to participate absolutely.

City of souls or Ciudad de las almas

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At what period in the filmmaking process, do you need to start planning for distribution?
ER: When I am thinking about what I am going to produce in parallel, I am also thinking about where to distribute it, advertise it and where to give it visibility. These thoughts accompany me through the entire process, from pre-production to final editing. Equally, only when it is finished do you fully realize what the most suitable means of distribution are, in some cases they are the ones you thought at the beginning and you try, in others you may have to modify that direction.

Indie filmmaking is a small budget model. How do you get a film to the audience with such a budget?
ER: If you have a good idea and you film it as well as possible, it will surely reach the audience, it may take a little more time compared to another production with more resources, but surely the public will be able to enjoy it. The secrets are patience and perseverance.

How do you think filmmakers can finance their projects?
ER: There are several, from participating in script contests, organizing parties to raise money, to crowdfunding, there are several financing programs at festivals and film institutes ,etc. What is very important when the project is presented is that it be absolutely captivating, at that moment it has to be the object of the desire of those who analyze them. Another possibility is, once finished and released, try to sell it to private buyers of films and / or shorts. This can be used to finance (or in part) the next project

Nazi paradise or Paraíso Nazi @ Official Trailer

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Describe your most recent work, or film, take us through pre, production and post production?
ER: At the moment we are working on an animation / comic film “Claroscuro”, we just released the first trailer. It is a project that progresses slowly because for the most part we are using a traditional animation process that takes a long time, but that brings us results of which we are really very happy and satisfied. We spent a lot of time developing the characters and locations, keeping in mind exhaustive research on the period (1920s in Buenos Aires)

What is your experience on the story, the screenplay, the production, premiere and the marketing?
ER: Many times when we dedicate ourselves seriously to the audiovisual world, it does not believe that we will have to deal with all these issues, it is often said: I am a director, I am looking for a scriptwriter, a producer, someone who does marketing and we make the film. From my experience, as I was saying before, you realize that you cannot completely delegate production, you have to be present in all the mechanisms so that everything is fluid and a good product is developed.

This is learned along the way, when you gain experience and know how to move, how to solve problems and where to start proposing your creation. For this reason, in the first place it is essential to have a lot of passion for what you want to create. For me, the whole process is about personal challenges, I find it quite adrenaline-fueled; I think about it, film it, finish it and then make the audience enjoy it and criticize it.

Animation process

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How much did you go over budget? If you did, how did you manage it?
ER: I always go over the budget. Inventing creative solutions is a good alternative, but sometimes I feel that it is not enough and then there is no other option than to do it as it is written. In a production it is normal to have unforeseen events. Ideally, put together a larger budget that covers these types of expenses.

Did the tight shooting schedule make it harder or easier? How did it affect performances?
ER: Independent filming is also most of the time you have to run and do everything faster. If you go to the set prepared, a lot of things can be solved, on the other hand, having to improvise is not a problem either. Those of us who film independently are so used to this process that having to come up with creative solutions is automatic.

When did you form your production company – and what was the motivation for its formation?
ER: Being independent , creating a production company can be useful to find co-productions and collaborators, in that way the projects are accompanied and supported by a brand, it gives it a greater seriousness. Hand in hand, the brand is making a trajectory adding productions and is gaining more credibility. It can also be a very useful means of requesting financing.

CLAROSCURO © Official Trailer

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What do you hope audiences will get from the presentation of your film?
ER: Reaching the public by making independent productions is already a success. It gives me great pleasure that the audience enjoys it and I am not scared that the criticisms are negative, because it is impossible for everyone to agree and have the same points of view, that does not happen even with Hollywood productions. On the other hand, constructive criticism helps you go better and grow.

What are your future goals?
ER: My goals are the same that I set for myself when I started this path. Be true and honest with myself and the audience. Doing things with my heart that I like to communicate. Of course, go as far as possible so that more people see, appreciate and criticize them. And if it is not with this project, it will surely be with the next one.

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