Hi everyone!
I really have Instagram bombarded with ads from film schools of all kinds. RUFA, IED, SAE Institute, you name it. Clearly all private, and clearly all disgustosamente expensive.
We are talking about schools that ask each student between 8 and 13 thousand euros.
With that money a class could, like, do something productive and bring Venice/Milan/Rome/Turin/your favorite fucking festival actually something, instead of wasting 9 months in a school.
This is because, enno one will ever be able to prove me otherwise
These courses and schools only attract people who don’t give a shit about art.
They are all “performative people” who like to say they have done something, without doing anything
They all want to learn how to do not because they actually want to accomplish something, but because the random idea of “doing it” attracts them
People who don’t have an idea, don’t have a story, have never written anything in their life who woke up one day flirting with the thought of having a hypothetical career which, in the end, they will never realize (the conversion rate of these schools is always terrible, nothing changes for them anyway, if you have €13k to burn doing this thing, imagine if you also need a real job)
Where are the graduates of these schools? What do they do? Who gives him the opportunity to work and do something? Because let’s be clear, if you go to these schools you don’t do it to learn. If you want to learn, today, you learn. Everything is already easily available online. And working in the show has never required any piece of paper, not even for the workers, not even at all.
So why do you go there? In the hope of making connections, networking, meeting people who could then finally lead them to do something.
Which translates into: hey, let’s play the Russian roulette of getting to know people, in the meantime we’ll make a nice -13000.
It’s a bit funny, but I’d say that if you have the freedom to get -13000 like that in the hope of making connections, you’re not that worried about having a job, and cinema is your whim, not your art.
Ok, so, the question goes 99,100,000 euros (the money that the ministry has put in 2024 to support cinema, which in jargon also known as "shit"), what do we do?
2 things:
1) A system of excellent Italian resources. We spread knowledge and culture of cinema for free with resources carefully translated into Italian. Over time, I have compiled a list of quality links and resources, unfortunately in English. I’m slowly translating a lot, and I’ll always update this link. Which will be free, forever.
https://www.notion.so/Risorse-per-fare-cinema-2bc0bf57dc84808bb6e0c4addefa3609?source=copy_link
2) Making cinema. If we don’t spend money on studying, we might as well spend it on doing.
I want to make a film. There are many uncertainties, but I have a good story in my hands. Ideally I will take the €20k from the ministerial tender, with which to make, who knows, a short film to go to Venice next year. I’ll try.
I would like to see enthusiasm in Italy behind a market that is left to die.
Fare cinema, studiare cinema. Il buco nero delle scuole private dell'arte italiane che non aiutano un settore in declino, e come risolvere.
byu/MatteoPignoli initaly
Posted by MatteoPignoli
4 Comments
Il cinema è già agonizzante. Appena l’ IA diventerà più precisa e performante sarà tutto finito.
Il cinema italiano non esiste più.
Ormai lavorano i soliti 30-40 attori in progetti-marchetta, nulla di più.
Perché tutto questo? Perché i costi per fare un film “normale” sono lievitati di almeno 100 volte rispetto agli anni ’80, e i pochi che possono permetterselo assumono amici e amici di amici per attingere appunto a quei 99 milioni di euro, e non cedono di un millimetro (uguale – forse peggio – per i doppiatori).
E anche perché vediamo già internazionalmente come piuttosto che fare sceneggiature originali (in cui le major non scommettono), gli sceneggiatori/registi cercano di farle passare come adattamenti di altre opere, che poi infarciscono di loro idee geniali (che rovinano l’opera).
Cosa c’è ormai da dire, nel mondo del cinema? Niente. Lasciamolo morire così e via.
Non ho una risposta alla questione finale. Mi intendo molto più di letteratura e scrittura che di cinema (anche se le mie idee sono applicabili anche al cinema) e le varie scuole/corsi/laboratori di “scrittura creativa” mi danno la nausea. Non si può insegnare a fare arte e sono consapevole che possano essere utili per i tecnicismi (es. insegnare tecniche del tipo “usa il piano olandese per comunicare confusione o salcazzo”), ma il massimo che secondo me danno, e neanche sempre, sono contatti nell’ambiente. Per il resto evidentemente fa figo scrivere su Insta che hanno frequentato questo o quest’altro.
Prima della globalizzazione metà dei film italiani erano palesemente rubati dall’america e riproposti in italiano,