![Image](https://m.media-amazon.com/images/M/MV5BNjVjYWRmNWEtZGUxZS00ZmI0LWFmOTAtMzQ3YzEzNzdhZTM2XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR0,0,500,281_.jpg)
Oscar winners Dustin Hoffman and Helen Hunt are attached to star in Peter Greenaway’s drama “Lucca Mortis,” which has started filming in the Tuscan city of Lucca.
The new film by the 81-year-old iconoclastic British filmmaker and artist — known for arthouse hits such as “The Draughtsman’s Contract,” “The Cook, the Thief, His Wife and Her Lover” and “The Pillow Book” — is the tale of a New York writer (Hoffman), who in in 2001, following the attack on the Twin Towers in New York, takes a sabbatical to visit Lucca in search of his distant Italian origins. “Lucca Mortis” creates a sort of parallelism between the Twin Towers and the towers of Lucca, according to the Tuscany Film Commission website. Other details, including Hunt’s role, are being kept under wraps.
Tuscany Film Commission head Stefania Ippoliti said cameras started rolling earlier this month in Lucca, which is known for its medieval walls and towers,...
The new film by the 81-year-old iconoclastic British filmmaker and artist — known for arthouse hits such as “The Draughtsman’s Contract,” “The Cook, the Thief, His Wife and Her Lover” and “The Pillow Book” — is the tale of a New York writer (Hoffman), who in in 2001, following the attack on the Twin Towers in New York, takes a sabbatical to visit Lucca in search of his distant Italian origins. “Lucca Mortis” creates a sort of parallelism between the Twin Towers and the towers of Lucca, according to the Tuscany Film Commission website. Other details, including Hunt’s role, are being kept under wraps.
Tuscany Film Commission head Stefania Ippoliti said cameras started rolling earlier this month in Lucca, which is known for its medieval walls and towers,...
- 12/11/2023
- by Nick Vivarelli
- Variety Film + TV
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As high-profile international productions continue to flock to Italy, its film commissions have joined forces, leaving producers’ old divide-and-conquer playbook in the dust.
“We believe that the success of one member is the success of all members,” says Cristina Priarone, president of the Italian Film Commissions Assn. The organization was created — alongside the Italy for Movies web site, with a searchable database — to help potential collaborators easily access information about available regional funds, and other advantages offered by different regions.
“This network has increased Italy’s talent to attract productions, welcome them at the highest level and easily move their sets from one region to another,” adds Toscana Film Commission’s Stefania Ippoliti.
In a country with a famously strong regional identity, such cooperation encourages foreign teams — already lured by Italy’s 40% tax rebates — to venture outside of their comfort zones when looking for locations.
As proven by the likes...
“We believe that the success of one member is the success of all members,” says Cristina Priarone, president of the Italian Film Commissions Assn. The organization was created — alongside the Italy for Movies web site, with a searchable database — to help potential collaborators easily access information about available regional funds, and other advantages offered by different regions.
“This network has increased Italy’s talent to attract productions, welcome them at the highest level and easily move their sets from one region to another,” adds Toscana Film Commission’s Stefania Ippoliti.
In a country with a famously strong regional identity, such cooperation encourages foreign teams — already lured by Italy’s 40% tax rebates — to venture outside of their comfort zones when looking for locations.
As proven by the likes...
- 5/15/2023
- by Marta Balaga
- Variety Film + TV
Italian TV is traveling around the world as never before, and giving audiences a deep dive into the country’s locations. They range from storied cities such as Rome, Venice, Naples and Milan to classic countryside backdrops, including Tuscany and Umbria. There is also the southern sensuality found in Apulia and Sicily, and, of course, the Mediterranean coastline and the Alps.
Almost all of which are making their way into long-form narratives of different scopes.
Stefania Ippoliti, who heads the Tuscany Film Commission and concurrently presides over umbrella group Italian Film Commissions, says the org’s 17 member regions have joined forces “to make our services more homogenous, even in terms of [streamlining] applications.”
Besides on-the-ground assistance, Italy’s film commissions also manage local funds of different types and sizes that offer up roughly €60 million ($66 million) a year in soft money on top of Italy’s 30% cash-back tax credit with a $22 million cap.
Almost all of which are making their way into long-form narratives of different scopes.
Stefania Ippoliti, who heads the Tuscany Film Commission and concurrently presides over umbrella group Italian Film Commissions, says the org’s 17 member regions have joined forces “to make our services more homogenous, even in terms of [streamlining] applications.”
Besides on-the-ground assistance, Italy’s film commissions also manage local funds of different types and sizes that offer up roughly €60 million ($66 million) a year in soft money on top of Italy’s 30% cash-back tax credit with a $22 million cap.
- 9/20/2019
- by Nick Vivarelli
- Variety Film + TV
From glaciers in the Dolomites to the emerald Sardinian coastline, gritty industrial settings and roughly 54 Unesco World Heritage sites, the Italian peninsula offers pretty much any type of location you could imagine.
“Italy is a country where you can shoot everywhere,” says Stefania Ippoliti, president of the Italian Film Commissions umbrella group. “It’s not like in France, where it’s all about Paris and the Cote d’Azure.”
Plus, “everywhere you shoot, you find an efficient film commission, [which] “was not the case a few years ago.”
There are at least 18 film commissions now operating across Italy. Most of them offer incentives and local film funds that have grown to be worth a total of €60 million ($66 million) a year. Though on a merely monetary level Italian funds are not on a par with Germany or France, the basic advantage is that the country’s film commissions also double up as...
“Italy is a country where you can shoot everywhere,” says Stefania Ippoliti, president of the Italian Film Commissions umbrella group. “It’s not like in France, where it’s all about Paris and the Cote d’Azure.”
Plus, “everywhere you shoot, you find an efficient film commission, [which] “was not the case a few years ago.”
There are at least 18 film commissions now operating across Italy. Most of them offer incentives and local film funds that have grown to be worth a total of €60 million ($66 million) a year. Though on a merely monetary level Italian funds are not on a par with Germany or France, the basic advantage is that the country’s film commissions also double up as...
- 8/23/2019
- by Nick Vivarelli
- Variety Film + TV
Key representatives of Italian media joined with their American counterparts in Rome Sunday morning to usher a call for greater inclusion in the local entertainment industry.
During a panel on the final day of Mia hosted by Women in Film, TV & Media Italia, the group presented the tools of ReFrame, the American organization promoting a formal action plan to achieve gender parity in film and TV, and debated how they could be used to address systemic challenges facing women in Italian media.
“The ecosystem is…breathing with one single lung,” said Domizia De Rosa, of Women in Film, TV & Media Italia. “[Women are] the half which is missing.”
De Rosa was joined onstage by Kirsten Schaffer (above right), executive director of Women in Film, L.A.; producer Paul Feig (above left); Desiree Akhavan, director of Sundance Grand Jury Prize winner “The Miseducation of Cameron Post”; Mia director Lucia Milazzotto; Stefania Ippoliti, president...
During a panel on the final day of Mia hosted by Women in Film, TV & Media Italia, the group presented the tools of ReFrame, the American organization promoting a formal action plan to achieve gender parity in film and TV, and debated how they could be used to address systemic challenges facing women in Italian media.
“The ecosystem is…breathing with one single lung,” said Domizia De Rosa, of Women in Film, TV & Media Italia. “[Women are] the half which is missing.”
De Rosa was joined onstage by Kirsten Schaffer (above right), executive director of Women in Film, L.A.; producer Paul Feig (above left); Desiree Akhavan, director of Sundance Grand Jury Prize winner “The Miseducation of Cameron Post”; Mia director Lucia Milazzotto; Stefania Ippoliti, president...
- 10/21/2018
- by Christopher Vourlias
- Variety Film + TV
Children’s television producers and networks have been forced to navigate a new landscape in light of “structural and economic crisis”, a Ventana Sur panel audience heard on Thursday.
Natalie Altmann, founder of French producer Media Valley, explained during a session on global trends in the children’s series market that the proliferation of new platforms had fundamentally changed the way the sector operates.
“There is a structural and financial crisis that our industry has gone through,” Altmann said. “Kids don’t access content in the same way they used to – they have access through apps, iPad and game consoles, which has led to audience fragmentation.”
“It’s caused generalist channels to disengage from kids content,” she added, noting that advertising revenue from children’s networks had plummeted since the 2008 economic crash and was no longer considered a value proposition by some companies.
Altmann noted that tablet adoption among children had doubled in the UK in the...
Natalie Altmann, founder of French producer Media Valley, explained during a session on global trends in the children’s series market that the proliferation of new platforms had fundamentally changed the way the sector operates.
“There is a structural and financial crisis that our industry has gone through,” Altmann said. “Kids don’t access content in the same way they used to – they have access through apps, iPad and game consoles, which has led to audience fragmentation.”
“It’s caused generalist channels to disengage from kids content,” she added, noting that advertising revenue from children’s networks had plummeted since the 2008 economic crash and was no longer considered a value proposition by some companies.
Altmann noted that tablet adoption among children had doubled in the UK in the...
- 12/1/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
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