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Metropolis: a story

  • Published in Metropolis
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Metropolis storie

 

Metropolis: the stories

 

There are well- told stories we heard and are sure will stay stuck in our heads. That's exactly how it works: our brain, facing a great story is immediately put in motion, we can't help it. Everyone has got a story, because he or she is actually living a life, but it doesn't mean then, that everyone is willing to tell new stories. Not always there' s an audience listening, so many times our stories remain in our heads, waiting for better chances. Who we are and what we want to be is already something to tell, no doubt. In Youtube, that great, modern archive there's a five-minute video called “Tonino Guerra explains his world to joung people” (watching it is surely a good and constructive way to spend some minutes in life). The Maestro uses wonderful words to give joung writers an advice : “you can't meet directors like Fellini, Tarkovskij, Rosi, Angelopoulos, Taviani, De Sica or Monicelli and say “I have a story to tell.” At least you must have a hundred stories. You must be full in first place. The issue is not about what to give to others... First you must fill up yourself. When you' re overflowing with flowers, ideas or messages, you'll be of some use” Team work allows you to be constantly in contact with stories of others, that sometimes emerge and need to be shared. Metropolis' mission (“ write great stories to be told in unconventional and engaging ways”) is ambitious and defines exactly the profile of this producing company, telling something about its DNA, one might say.

 

Right now The Imago is the project that's requiring most of our energy and attention. It's a movie, and so basically a story that contains other stories, some kind of a great road that leads to many secondary paths.

 

We need competences to do what we would like to do, and competences take some time to be formed.

 

“The Imago is a visionary way to deal with a complex and yet fascinating topic such as the cruelty of human beings”. This is the idea of one of the most important staff members, the special effect supervisor Stefano Bellandi. “I like fantasy stories that are about somthing not real. I mean: cinema is emotion to me, but also entertainment and immagination. I think these three elements blend prefectly together. Metropolis is a lab where we experiemnt and produce, and many times we experiment through the production. It is like a forge, and just as a forge it grew up during the years. It all began with the common passion for telling stories, not from plans or projects. I must say that this whole structure was not that fast to develop, because we need competences to do what we would like to do, and competences take some time to be formed. Preparation always take some time. We went through some trials to create a team bound together by passion. Indeed we're bound together by passion, or that is, by the wish to reach a common goal. Everyone uses his competences to do this work and we all respect others' skills. I'd like to say this: It is more important to us to keep a team together than begin new projects no matter what. If a team is unite and can work with a relaxed mood any project will be more effective, rather than remaining a mere application of technical skills.

 

We focus on the help each one of us can give, because we know that the plan we are working to feeds direcly on the experiences of the people that are bringing it about; otherwise all of it it is not real

 

 

Giacomo Ramacciotti

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