Lamezia Terme – On the set of the television series “La Fuggitiva” by Carlo Carlei, also a group of young Lametine actors in addition to Costantino Comito from Vibon. Protagonists of a beautiful and exciting adventure that they tell Lametino.it.
Vittoria Gargano, 29, talks about her experience on the set of “La Fuggitiva”
“A very interesting experience. Among other things, we shot in the middle of Covid. It was a doubly strong experience. I worked in mid-July and the set had already started around March and in fact my first call was suddenly canceled for what had happened. So, the thrill of starting over was very strong; arriving on set with a mask, swab. But then the normality of being on set makes you go further. In fiction I am a policewoman and I say that wear the uniform was beautiful. A dream, because many actors started wearing the uniform of the policeman, I hope it is a good baptism “.
How is Carlo on the set?
“Wonderful. He manages to maintain both a great authoritativeness, moreover already known on the set of Giudice Meschino where I assisted the director, and at the same time he reassures you. He is enveloping, at the same time he is strong. It is wonderful to see him work. observe him behind the monitors and now on the set. He knows how to guide actors, he manages to have an incredible charisma. You can see that he has an international Hollywood caliber. He manages to have extraordinary strength, the way he speaks, even his pauses. truly incredible “.
Tommaso Barone, 25, talks about his work
“It was my first serious job. An exceptional experience. I have done several shows and two short films, but seeing such a large reality at work is a whole other story. See a little of the magic of cinema and television, of the audiovisual. That is to see this gigantic machine moving with incredible synchrony. It is probably the only anarchy that works. It is something wonderful. What was fantastic, in addition to Carlo’s skill and professionalism, was his humanity ”.
What distinguishes Carlo on the set?
“He has a great ability to adapt to the actors, to the crew. To relate with them not only from a professional point of view of incredible effectiveness, starting from his writing. As he writes the lines, really exciting. It’s like eating a Lindt chocolate, meaning those words chew and come out on their own. An excellent writing, and the relationship with the actors is fantastic. Direct, without losing humanity, of great depth both when directing Mastrandrea, Puccini or minor characters as happened to me. Here, he doesn’t manage the actors, he accompanies them. I am a policeman in fiction and I have participated in the scenes in the police station, and in the scene of a blitz that is made in a field. And I accompanied the one who in the plot is the lover of the protagonist’s husband to the police station. I have to say that working with the other Calabrian actors, like Vittoria, was also incredible stuff. A tsunami. Really nice”.
Antonino Koukounouris, 29, talks about his role in fiction
“In the fiction I play the character of Carmine, a henchman of the ‘Ndrangheta, Manara’s right hand, this” gentleman “who hunts down the fugitive. Basically I’m the one doing the dirty work, an executive character.”
What was your experience with Carlei?
“Very nice. For me it was the first time on a big set. At first I was a bit excited; seeing all the insiders, where everyone does their job. At times I had a lot of tension because it was the first time. Carlo made me feel at ease, he treated me like a son. In some moments between one take and another, one take and another, he also told me things in confidence in our dialect, to make me feel closer to him, closer to work, closer to the scene. Because for me it was the first time and I had to relate, for example, to important actresses like Puccini, to do a scene with her. It was beautiful, I didn’t have time to do it. Then slowly I remembered that I am an actor too. I also remember one of the first scenes where Franz Cantalupo is also there. I was very satisfied because there is this scene where there is a shooting and he, together with Carlo, he gave me a great hand. We talked about how to do the scene, how to go up the stairs. Carlo there helped and therefore I got more and more into the work. Ours is an artisan job that you learn by doing it “.” I am carrying out a project of my own – he says about his future – that I am writing together with a screenwriter and of course I hope to take other roles for the cinema or for the TV”.
Costantino Comito, 48, already protagonist in the “Miserable Judge” and in the first series of “Bastardi di Pizzofalcone”
“Working for Carlo Carlei is always a great emotion. Especially for those who know him like us, in order not to make a bad impression you have to work ten times more. It is useless then to talk about the kindness of the whole crew. They make you feel at ease. with important actors it is always like putting yourself on the line, a “tough” test. The nice thing about Carlo is that if he is happy he treats you like a son, he brings you forward and makes you grow. Look, I was treated very well. And you know Why was this all born? If you remember, in the opening scene of the mean Judge, when we strangle a person in the river, if you see in the first scene I fall. But I really fall, I broke my leg there. the end. Carlo noticed it but didn’t say anything, he kept it in the film. Then you know, working in the freezing water I didn’t feel anything. Instead he observed this thing and appreciated it so much “.
What role do you play in the Fugitive?
“I’m one of the bad guys. The right hand man of a boss. You know, the usual plots. Sometimes we have to convince someone not really with good manners to tell us something. And I stop because I can’t spoil. It will be a great success as always,” for photography, lights. Carlo has the ability to take you to another dimension. He has this great ability. We shot in Rome, in Val D’Aosta, at least as far as I’m concerned, and there were some truly spectacular locations. One large mountain behind that overlooked the whole. It lent itself a lot to the purpose of production “.
Difficulty due to Covid?
“Look, we were super controlled. Swabs before shooting and then on the set always new, sanitizing masks. You felt more than safe”.
Pino Torcasio, 48, describes this new experience
“It was a wonderful experience because after many years I had the opportunity to do a part with Maestro Carlei, being directed there was one of my dreams as an actor. Working with him, Lametino, of international fame, is not for All the actors. In Italy we are 180 thousand and having the privilege of playing a part because chosen by him was really a dream. It means that he evaluated the actor’s abilities and wanted him in his work. I’m very happy, it came true as much as I wanted. That is, to know the teacher, to be directed by him.
How did Carlo welcome you on the set?
“I was particularly impressed, considering the character. I was thinking of a director you know one of the distant, grumpy ones. Instead, the thing that surprised me, not knowing him, was that he hugged me. I felt disoriented, he made me sit down next to him in the technicians’ chair while they were shooting the scenes and in front of the monitors. Which is done with great actors and certainly not with an actor who has a secondary role. He asked me how I was doing, he made me feel at ease . Really a surprise and I did not imagine he was so humble and above all nice. A very nice person compared to what was said about him, who was a gruff type, detached from people, suspicious. He welcomed me very well, really affable. I was very very happy. A big surprise in everything. I repeat, for me a dream that has come true. ”
What is your role in the film?
“I’m Filippo. I’m one of the bad guys even if a little out of the standard, he’s not really bad. The director preferred to see me as a good-natured, you know those loser types, those American mafiosi who are a bit” stupid “about the situation”.
“Many proposals to evaluate. The productions will decide, also because there are many actors you have to understand what a director wants. There are always details that can make the difference in the eyes of the director, of the production. You always choose an actor over another. based on the characteristics that emerge and that can affect a director “.
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