EXCLUSIVE: It’s a scorching 90 degrees in Rome at the end of July, but producer Lorenzo Mieli isn’t breaking a sweat. In the course of three days, he’s fully booked, first working…
In the course of three days, he’s fully booked, first working into the night with, which wrapped shooting in June at Rome’s Cinecittà. Then Mieli’s presence is required in Naples the next day on the set of Paolo Sorrentino’s new movie, tentatively titledthe production shooting on the water — which is always complicated for any movie. While there were ocean shots in Sorrentino’s Oscar nominated international film,is a whole other level.
The producer talks in a sotto voice and from what I can gather from his conversations during our trip to Guadagnino’s; there’s a phone call to the Oscar nominated filmmaker’s rep, CAA co-Chairman Bryan Lourd, then another call to an unnamed business contact, who Mieli implores: He wants to make sure that the director of his next movie,receives more than a fair share of points.
In an Italian film industry that’s looking to regain its footing from the glory days of exports such as the 1997 $230M-multi Oscar winner,and to yield a new era of filmmakers that rival both Neo-Realism legends such as Federico Fellini and auteurs such as Bernardo Bertolucci and Sergio Leone, Mieli stands as the catalyst to the country’s next cinema and TV renaissance with his production shingle The Apartment, which is one of the film labels owned byItalian moviegoing for some decades has been...
“Lorenzo is doing something that is unprecedented,” says Mieli’s collaborator of six films, Oscar nominated filmmaker Luca Guadagnino. “Lorenzo’s quality has always been one of complete independence and experimental, which I feel I am as well. We find amusement in doing things that have never been done before, but also are very ambitious, which goes beyond the boundaries of Italian cinema, beyond the rules of the game in the Italian industry,” emphasizes Guadagnino.
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