When it aired on Allind, Course Net Infos asked director Pavlo Jucca The man who bought the moon.
1. All d‘First a word about your background …
After studying modern correspondence at the University of Florence (after receiving drama training in those years), Roy chose me to follow a course on “Cinematography Movement” in Rome. It was an experience of excellent quality value, which is very important to me. Then I went to a director’s school, still in Rome. Aside from these “official” training experiences, I have always had a passion for art creation, but also for working together (convincing others) to achieve things that seem unnecessary. Already in elementary school I drew short films and satirical stories, then I continued with photography, theater and first amateur shorts, then training overtook me and became a work full time. I think making a short film is the decisive step in my film career Referee, Which received Best Recognition (Jury Prize and Premio David de Donadello at Clermont-Ferrand). I also showed the film as a TV character to the famous Italian writer Barbara Alberti, from where a partnership was born between her and me and her husband producer Amedeo Pagani. We wrote and directed my first film together Referee (This is the forerunner of the untitled short film) and the second film The man who bought the moon. We are currently involved in the development of My 3e The film is adapted from Barbara’s novel: According to the Gospel of Mary.
2. Why did you choose to write and run this film?
I started writing The man who bought the moon When the train was running 15 years ago. I was reading a story model called “Heroes Journey” and wanted to try to use this model personally: to put it quickly, my intention is that the protagonist of a story should end a journey and face a face, not a type of psychological analysis that occurs in all American films, but rather a cultural change. The film had many false beginnings, and the movement changed a lot over time, so the personal and psychological analytical component of the protagonist – an American in the first edition – entered into a kind of story. However, the original idea remains a cultural journey.
3. Use of clich The man who bought the moon Has a very precise and readable character: Would you say that this film confirms itself as “unrestricted Sardinia” from a cinematic point of view?
I remember one of my directing authors, Francesco Scotmaglia, who led the way in the reflection of the storylines of “The Journey of the Heroes,” also known as the “Guardian of the Door,” which acts as a barrier or obstacle to the search for the hero-protagonist. Therefore, the best way for the hero to confront this “image” or this archeological institution is to absorb its energy. This concept touches me deeply, because while writing a film about my land, Sardinia, I realized that clich ,s and cultural positions are a big issue: they are my “gatekeepers”. “It prevented me from continuing my journey as a writer. This revelation pushed me to choose in a radical way (and I consider it decisive for the good of the film): rather than trying to avoid the clichd mine (inevitably) ending up taking my feet the same way. Inside, I wanted to confront all the Sardinian stereotypes in a completely considered way, using all of their humor, symbolism, symbolic energy and their poetic dimension with a bit of humility. I don’t know if Sardinia is still barred from cinematography after this film. A little lighter of course, this is one of the elements that the Sardinians have so passionately praised and rewarded for, which is higher than my expectations.