2024.9.19
Can you tell us more about you? (career/major/hometown/hobby...)
I split my time between Italy and the USA and am currently based in Rome. As a filmmaker, I’m passionate about psychological horror and surreal narratives. My career spans various roles in the industry, from writing to directing, with a focus on crafting stories that challenge conventional ideas and delve into the human condition. When I’m not making films, I enjoy photography and exploring new ways to visually express ideas and emotions.
May I know why you love creating horror movies so much?
To me, horror is the most powerful genre because it taps into our shared primal emotions—fear, dread, and suspense. It allows filmmakers to explore the darker aspects of the human condition in a raw and visceral manner that few other genres can match. I appreciate how horror grants me the freedom to craft narratives that reflect internal struggles, mental states, and existential questions, all while generating a lingering sense of tension and unease that stays with viewers long after the film ends.
What is your position in the short film BOUND BY BLOOD (2024)? Could you share the idea/brief storyline of this film?
I’m the writer, director, and DP of Bound by Blood. The film delves into a haunting purgatorial realm where souls arrive after taking their own lives. The main character awakens in a distorted version of his home and must traverse a desolate land bridge to meet the person who preceded him. In this timeless space, each soul confronts the painful truth of why they ended up there. The story explores themes of regret, reflection, and the cyclical nature of trauma, as each character faces their choices and guides the next soul through the process of confronting their past.
In what situations or conditions did you get the chance to use our Pavo anamorphic lenses?
For Bound by Blood, we used DZOFILM Pavo anamorphic lenses to create a dreamlike, cinematic feel that complements the film’s surreal and haunting tone. The anamorphic design allowed us to capture the vastness of the otherworldly landscape, conveying both isolation and eerie beauty. These lenses were crucial for achieving the stretched bokeh and wide cinematic shots that enhanced the film's atmosphere.
In what scenarios (type of film/scene) would you prefer to use anamorphic lenses for shooting?
I prefer using anamorphic lenses for films with a strong visual style that demands a heightened sense of scale or surrealism. They excel in psychological horror and dramatic, atmospheric scenes where the sense of space and depth is vital to the storytelling. I’d use them in any scenario where I aim to create immersion or where visual aesthetics significantly contribute to the emotional tone of the story.
What do you think of the Pavo Anamorphic after using them? Which is your favorite focal length in the set to use? Why?
The Pavo anamorphic exceeded my expectations. They offer stunning clarity while preserving the distinctive characteristics of anamorphic lenses, such as beautiful flares and distortion that lend an organic, dreamlike quality to the visuals. My favorite focal length is 65mm; it’s incredibly versatile, providing cinematic scope without sacrificing intimacy in character-driven scenes. This lens allowed us to capture both expansive landscapes and the subtle emotional expressions of the actors.
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How do you feel using the Pavo lenses on an ARRI Alexa Plus camera?
The combination of the Pavo lenses and the ARRI Alexa Plus was ideal for this project. The Alexa's color science and dynamic range, paired with the Pavo anamorphic, produced stunning imagery, especially in capturing the extreme contrasts between light and shadow in our otherworldly setting. The Alexa Plus highlighted the subtle nuances of the lenses, maximizing the anamorphic’s cinematic depth while preserving a strong sense of realism.
Based on your on-set experience, what innovative features would you like to see in DZOFILM's future products?
One thing I’d love to see from DZOFILM is an anamorphic cine zoom set. It would be amazing to have the flexibility of a zoom lens without compromising the signature DZOFILM anamorphic look. This could unlock new creative possibilities for filmmakers seeking both the cinematic depth of anamorphic and the adaptability of a zoom lens, particularly in fast-paced shooting environments.
Are you currently working on any projects? Have you been using other DZOFILM lenses for these shoots?
I’m always working on something! Right now, I’m preparing two horror feature film scripts to send to production companies, aiming to make my first full-length film. It’s an exciting time, and I’m eager to take the next big step in my filmmaking journey. And if either of these projects moves forward, you can count on me using DZOFILM lenses!
Final Work:
https://youtu.be/mGeC28VTK3A