Cinema, Occhipinti (Lucky Red): “Venice learns from Cannes for French film strategy”

“We often talk about the ‘Cannes Film Festival’ and more generally about the French, to make somewhat trivial comparisons on which is the most beautiful and important festival. In reality, we should want to learn from them in a specific aspect: whatever film vada sulla Croisette has something French; and, beware, not only the director or the actor, but the producer, the screenwriter, the financier and other apparently less strategic but actually very important figures for the film industry. Country. In Cannes, it also applies to Japanese films. Mind you, it’s not chauvinism, it’s strategy and perhaps the director Alberto Barbera could integrate it into his excellent work on Venice “. This is what Andrea Occhipinti, actor today at the head of the Lucky Red production company, affirms, “one of the most dynamic and courageous on the Italian scene”, who has no doubts about how much Italian cinema must “have the courage to go to school with whom does certain things better. ” As a guest of the ‘Voices and stories in Venice’ event organized by the newspaper ‘La Ragione’, in collaboration with the Fondazione Ente dello Spettacolo and the Joydis agency, Occhipinti did not escape the theme that the director of the Film Festival threw an avalanche on the his world: the quality of our cinema. “We recall that according to Alberto Barbera there are five Italian films in competition in Venice, in this 79th edition, because a sixth that deserved to be there did not find it”. Andrea Occhipinti does not seek controversy, but exposes a not a little different position: “There are many interesting Italian films. What is true is that production has exploded. Not the production of films, but the production in general, including TV series. There are many more platforms that need products and, in my opinion, some of them will soon not stand up to the competition “. For Occhipinti,” it is inevitable that by suddenly increasing production, quality is underestimated. Paradoxically, however, this is precisely how you can find the product interesting. To have 20 good films, I exaggerate, you need to produce 100. Tax credit has created a boom, but when you run you also risk lowering the level. For this, government intervention makes no sense on cinema, it is the sector that must be self-regulated. The hope is to return to normality, but this does not mean the 105 days of waiting between theaters and streaming and TV platforms and not even the 90 today for Italian films. iani “. Rather,” I would focus on absolute flexibility between different products: an exclusive window is needed, especially for big films that make a lot of money at the cinema, but I think there shouldn’t be a single rule imposed from above. The balance must be found by those who invested. In short, the theme remains that of bringing people to experience the emotion of cinema, in theaters or at home, with intelligence and flexibility “. Occhipinti continues:” The paradox is that we live in an era in which images have taken their windward. Once the cinema was the only visual spectacle in existence, then television arrived and now there is a crazy offer, but there is a quantity of images that young people look at and cannot decipher. The paradox is that children do not have an education in image. At school they should teach the history of cinema, to decipher and understand what is seen online. They would need a Virgil to accompany them in a world that will be increasingly part of our life. Today – he concludes – everything is a little diluted and for young people, who are losing the ability to concentrate, cinema can be a splendid exercise to rest the mind “.