IN THE DIRECTOR'S CHAIR
Sitting on the set of a film, on what the history of cinema offers us as a classic image, the director’s chair. But what relationship do the men of film have today with this cult chair?
“For the big productions – observes the Friulian director Lorenzo Bianchini, first prize from the Jury and first prize from the Public at the Exhibition of Friulian Cinema for his best-known work “Radice quadrata di tre” (The Square Root of Three) – perhaps there is still an opportunity to sit and observe the scene. In the director’s chair. On most sets, however, the directors are on their feet, kneeling or moving about”.
This is confirmed also by Renzo Martinelli, busy these weeks on the finishing touches of the film “Carnera. The Walking Mountain”, dedicated to the great Friulian boxer who was a native of Sequals: “You are constantly on your feet, there is no time for sitting”. Bianchini, who by the end of this year will finish his new film thriller set in the forests of the border area between Italy and Slovenia, uses instead, together with his assistants, what the natural spaces of the set offer: in the case of the cross-border woods, for example, instead of chairs tree trunks, branches and roots are used. “In this case it is wood” he observes “that serves as our support, an element that sends us back directly to the raw material used to create a chair: A live element that speaks of our origins, from our own history.”
The Friulian director does not hide the importance of this ad hoc chair in the filming operations. “We are often kneeling in front of the video screen, and over the years this unnatural posture can cause you different problems. Not only for the directors but also for their assistants.” And he launches a proposal: “construct a stool, or a versatile chair, to be used with ease. Because there is never enough time”. Its characteristics? Lightness, robustness, comfort, ease of transport. Capacity to adapt to different surfaces, all those particularly varied and creative that distinguish the locations of films or full-length features. Those chosen by Bianchini in recent weeks have been the semi-abandoned villages of Topolò di Grimacco and the district of Monteprato in Nimis, both in the border areas of the Province of Udine. These are the settings of the new thriller under production, centred round a Nobel laureate naturalist busy surveying the local fauna in the woods who experiences unusual and terrifying meetings.