In our interview writer/director Jonas Carpignano talks about working with Scorsese, his young lead Pio Amato and the perils of shooting in The Ciambra.
A Ciambra clearly delineates the various tribes in Rosarno – the Italians, Romani and Africans – and shows how only Pio can move freely between them, which makes Pio’s relationship with Ayiva one of the hopeful elements in the film.
I fundamentally believe that besides the coercive political, economic and national structures, exposure to “foreign elements,” whether they be people, food, or music is the only way to dissolve the artificial boundaries between us. To me, Pio can move freely through the complex layers of his world because none of them are truly foreign to him. He has grown up in a Calabria that has now Africans, Bulgarians, Romanians, and so on. For him they are part of the social fabric of his world. That was not the case for the previous generation.
The same is true for Marta in Mediterranea. She doesn’t see Ayiva as an invader. For her, Ayiva is a worker like so many others. She didn’t know what Calabria was like before the arrival of the Africans. Both Pio and Marta see Ayiva as Ayiva. And while both films are realistic about the limits of this relationship, I think they both depict a path forward towards a more “integrated” Calabria.
Pio’s grandfather represents a way of life that has disappeared. There is a wonderful moment in the film in which Pio has a vision of his grandfather, what was the inspiration for this?
History has a certain weight. We like to contextualize ourselves and to feel that we are part of something larger than ourselves, that we have roots and that we are the continuation of something that has come before us. This is true, to varying degrees, for all of us, but it is especially relevant in the Ciambra. Yet, if you really think about it, our connection with the past is more abstract that we would like to think. I mean, we cannot physically occupy the past, we can never experience it for ourselves. The past is something that is constantly reimagined, often to justify who we are or who we would like to be.
The collective memory of a common past is part of what makes the Ciambra such an insular community, and I felt that it was important to show Pio’s connection with his past to better articulate his dilemma. I also wanted to convey this idea that his connection with the past wasn’t as concrete as his connection to his immediate surroundings. So, when confronted with the problem of how to cinematically render this, I tried to conjugate the abstraction of an imagined past with the realism of the film. The barley perceptible slow motion and the magical feeling of those scenes are an obvious departure from the rest of the film, but at the same time they are shot within the “rules” of the visual language we established for the whole film.
How did producer Martin Scorsese get involved?
RT Features and Sikelia have created a fund to support first and second films. The producers at RT saw Mediterranea, they liked it, and they brought it to Martin and his producing partner Emma Tillinger Koskoff, who were immediately supportive and enthusiastic about the project.
The nature of making films in Gioia Tauro is such that everything outside feels very, very abstract compared to what is happening on the ground. I spent the last year knowing that Martin Scorsese was a producer of the film but it didn’t really sink in until we got to the editing process. I was lucky to have his notes on several versions of the cut, and his thoughts surely made an impact on the film. On a larger level, not only his work is massively influential, but his approach to and respect for the medium is what I particularly value.
How do you approach collaboration with crew? Do you prefer to work with the same crew from project to project?
Yes. We’ve been making films in Gioia Tauro since 2011 and many of the people who were around at the beginning are still a major part of our filmmaking team. For example, my production designer Ascanio Viarigi has been part of the team from the very first short; one of the producers, Jon Coplon, had his first-ever filmmaking experience with A Chjana. My DP Tim Curtain was the operator of A Chjana and Mediterranea. It goes on and on. We are a tight knit crew for sure, and we’ve succeeded in creating a system for making films in a place where there was previously no film production. We all speak the same language now, and the basic grammar of our cinematic language is pretty well established.
Of course, people sometimes have scheduling conflicts and not everyone can be around for every film, but we always get people who have worked with someone that was part of the original crew. It’s great because the family keeps growing, but the vibe stays the same. Then there are also the people who see how we make films and steer clear of our unorthodox approach. It’s sort of a natural selection in that way.
What was the process for creating the look of the film? What were some of the challenges in filming where you did?
While the building blocks were similar to the process for Mediterrana (and the shorts), the overall picture was very different and that came from the different perspective that the film inhabits. I always believe the film itself should feel like the main character. In that vein, Mediterranea feels very fragmented and closed in. The visual grammar is designed to mirror Ayiva’s perspective: he only has a fractured understanding of his surroundings and therefore the film only presents a fractured portrait of the place. In A Chjana, Pio’s grasp of his surroundings is more assured and, even though we used the same type of camera moves and editing style, the perspective is much larger, more comprehensive.
Shooting in the Ciambra was the challenge. It’s impossible to fully articulate what the Ciambra is like, but from the film I think you get an idea. It is a wild and unruly place where anything that can happen will happen, often ten or fifteen times over. Luckily we knew this before going in, so we gave ourself time. We ended up shooting for 91 days.
I think if I had to boil it down, the hardest parts of making the film were waking Pio up in the morning, and directing the scenes that have tons of kids. I know they look all cute on screen, but when they don’t feel like working, man… I’ve got some outtakes and behind the scenes stuff that wouldn’t be out of place in Burden of Dreams.
Can you talk about the music? As always the score and the pop songs are on.
I love pop music. I got this question a lot while I was on the road with Mediterranea, and I’ll say now what I said then: pop music is the common denominator. No matter what language you speak, no matter where you are from, when the beat drops on a song that everyone knows, everyone is suddenly on the same wavelength. Everyone is moving to the same rhythm and I find that to be a major icebreaker when venturing into less familiar territories.
The fact that Pio and I dig a lot of the same music explains a great deal about our relationship. We were born and we grew up in very different circumstances, yet when we are listening to music Pio and I understand each other way better than he and someone born and raised in the same city would. Even though that someone speaks the same dialect, knows the same doctors, and had the same teachers – but they don’t share the same musical taste. So I find it important to the make the viewer listen to what the characters listen to. It’s a way in, a way to bring the audience closer to the people on the screen.