Undoubtedly a film is the result of a complex work where all the professional figures contribute to the realization of the final result. But there is an essential starting point, without which it is difficult to imagine that the work could take shape: the screenplay. Technically it is defined as the fundamental basis (the text) from which the making of the film begins. It is a trace written in two columns (so-called Italian style) or for master Scenes (on the American model) where all the elements that will then be filmed by the camera are indicated in detail. Often then it happens that the s. is manipulated, adjusted at the moment, reviewed and corrected by the director who assumes, in some cases, the artistic paternity. In fact, you will hardly read of a cinematographic work "a screenplay by ..." while it is consolidated to write "directed by ...". This is still a much debated issue if the s. must be "armored" or susceptible to variations during construction, also determined at the specific moment of the start of the recovery or of the specific sequence. In fact, it can happen that in a given moment or context, either due to the characteristics of the actors or due to particular conditions (e.g. climatic) it is necessary to make significant deviations from the s. initial. It is necessary to emphasize that the S. it is the stage of development following the idea, the initial subject of a film proposal.
We report from Treccani (edited by Giuliana Muscio): “In the S. shots and dialogues are established in detail, dividing the action into scenes that are numbered progressively. Each shot bears a sort of title with an indication of the place where the action takes place, the technical specification whether it is 'internal' or 'external' (relevant for the choice of film and equipment) and the moment of day the action takes place, such as day, night, dawn (important for lights). In the classical era, starting from the silent and approximately until the early eighties, the s. it also included the technical indications on fields, plans and camera movements, with the abbreviations in use at the time: PPP for very close-up, CLL for very long shot and so on. This brief indication was followed by a description of environments and actions, and possible dialogue".
La scenography it is another fundamental element in the making of a film. This is the part that fully defines its location, the context, within which the actions foreseen by the screenplay take place. In the cases of films based on historical reenactments, the s. becomes the hallmark of the film itself. It is distinguished by s. internal or external depending on whether the background within which the shots take place is reconstructed in the studio or real space is used.
As far as directors are concerned, this letter of the alphabet offers us important names. Among the Italians, Ettore Scola: many masterpieces of Italian cinema are owed to him, starting from the fundamentals of the Italian comedy. He starts as a screenwriter with Count Max, The monsters, Iovertaking and with the camera with If it permits we talk about women in 1964. Since then it has always continued with great successes, all based on a strong attention to the themes and problems of Italian society: let's remember Ugly dirty and bad of 1976, A Special Day (perhaps his masterpiece) of 1977 and The family of 87.
Martin Scorsese enter the history of cinema with Taxi Driver, Palme d'Or at Cannes in 1976 with Robert De Niro. To remember Out of hours of 85 e Those good guys of 1990. Ridley Scotthe made his debut with I duellanti in '76 and immediately demonstrated his skills. The great success of him comes soon with Alien of '79 and then with BladeRunner of 1982 (milestone of the "modern" science fiction genre). To remember Thelma &Louise of '91 and The silence of the innocent of 2001.
Di John Richard Schlesinger it is necessary to remember one of the few films that have received three Academy Awards: A man from the sidewalk of 1969. Follow Sunday, cursed Sunday of '71 and finally The marathoner of '76. Three more great American directors: Don Siegel (Inspector Challagan, Scorpio is yours from '72 and Escape from Alcatraz from '79); Steven Spielberg deserves a separate chapter for Duel of '71, the successful series of Indiana Jones, and the award-winning with seven Oscars Schindler's list from '93; In the end Oliver Stone, after a successful screenplay debut (Midnight Express, Brian De Palma's Scarface) arrives at mdpe to international success with Wall Street in '87, in '94 with Natural born killer and the colossal Alexander of 2005 (the use of thousands of extras is memorable).
It is necessary to remember one of the greatest Italian actors: Alberto Sordi. In the early 50s he made his mark with indelible titles: Federico Fellini proposed him as the protagonist in Lo sceicco bianco and then I vitelloni before arriving at the success of An American in Romeof 1954. Years of continuous successes followed with the most important Italian directors with whom he represented the best and the worst of the moral characteristics of the Italians.
