7. If you could work with anyone in the world, who would that person be?
I would very much like to work with Tom Savini, the effects specialist who did Romero's
zombies, along with countless other American slasher films. I consider him to be the
greatest gore artist of all time.
8. The one person who has truly believed in you throughout your career?
My composer was the first to say that THE EVE was a masterpiece, and that it would win a
slew of awards. I myself was less certain.
9. What was the most important lesson you had to learn as a filmmaker?
To make films that are simple, but also inimitable, unique unto themselves, like Nicholas
Roeg's masterpiece Don't Look Now, based on a story by Daphne du Maurier, the
masterful but subtle English writer. The film was shot here in Italy, in Venice.
10. What keeps you motivated?
The numerous awards, the positive critical reception, my public.
11. How has your style evolved?
I broke away from the traditional school of Italian thriller films, which, though it had
presented the world with a number of masterpieces, had pretty much played itself out.
Maybe that explains why Italy's international festivals were willing to show my work, and
recognise it with awards, only after it had won no fewer than 300 of them elsewhere. A
misguided critic, someone who had failed to even grasp the film's story, wrote in a recent
review that, seen in this light, I must have made the film simply to show up everybody else
up. But that was the farthest thing from my mind. Our tradition in the genre has turned out
any number of thriller films better than my own, or that simply defy comparison, seeing that
they are way too different. So I have never seen myself as being in competition with
12. On the set, the most important thing is...
That everybody be as professional as possible.
13. The project(s) you're most proud of...
For now, THE EVE, naturally.
14. The most challenging project you have worked on. And why?-
At present, that would have to be THE EVE. It was very difficult, involving 150 digital
effects that took years to complete. Plus I had to oversee everything by myself, because
my producer had other films to work on. At the time, 3D effects were less advanced than
today, so I was forced to do a number of things more than once. I think I worked with eight
different special effects artists. I can be quite a stickler for detail, and this led to tension
with some people, but in the end they did an excellent job, winning me a number of
15. What are your short-term and long-term career goals?
Long-term, I definitely want to make good films, but it takes years to think them through
and write them. It is not something that happens overnight.
16. Your next projects?
I have written two full-length films. One is a story set in America and the other takes place
in northern Europe. I feel that both could turn out to be extremely personal, deep, intriguing
films with excellent prospects for the future.