September 23, 2021

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Netflix’s Teresa Moni also talks about Lavish Italian original film Rose Island

4 min read

In 1968, the idealistic Italian engineer Giorgio Rosa founded an independent micro country on a small island, built on a platform supported by a steel pylon off the coast of Rimini, Italy. He named the platform – which had its own bar / restaurant, post office and radio station – Rose Island in the Republic.

This anarchic work is the subject of “Rose Island”, the core of the drama’s actual history that marks the first Netflix international original film outside of Italy. Worked intensively with the streaming giant director Sydney Sibilia And manufacturing companies Greenlandia (“First King”) The film is about the shepherd, imagining from the beginning for the international audience. The film began with Netflix’s step-up drive, led by David Coss, vice-president of International Film, and Teresa Monio, director of International Film, to produce and achieve significant non-English language titles with global appeal.

Partially shot in Malta, “Rose Island” boasts a top European cast with a combination of top German Tom Olasichih (“Game of Thrones”) and France’s Franকois Clujet (“Untouchable”). . “Rose Island” will be released worldwide on Netflix on December 9. Different Teresa Moneo and producer Matteo spoke exclusively with Raver about their collaboration on the project.

Matthew, how did “Rose Island” originate and how did Netflix help bring it to the screen?

Rawal: From the beginning, it was a story that seemed to have a universal appeal to us. It can resonate not only locally, but internationally. In a way, Giorgio Rosa changed the world. He did not change just one major [international law] He also helped shape a utopia on external boundaries that was described differently in those years.

With Teresa, we started a conversation where the on-screen image spread with the idea of ​​making the film more understandable to a wider international audience in its early stages. The story line has some interesting elements that relate to this aspect of utopia that may appeal to an international audience. In this case, Netflix has been the main partner, since the film is narratively quite complex.

Moneo: We got into the first draft of the script. I myself was fascinated by the story, of which I knew nothing before. Clearly it seemed to be the footnote of history. It seemed to me that while it was very unique, it covered the archeological description of a larger character and this notion of the underdog: the little boy that could. It seemed like it could bring out the more detailed story.

The most amazing thing about the script in my first lesson was that the ones I couldn’t believe were the real ones. I keep saying to myself: ‘It can’t be real!’ But all the specific information is really true. That was the most amazing thing. The deeper we dug into its reality, the more incredible the information was. For me it’s really important that it was a true story that could make an era and a time necessary and even have a sensitive throline.

Has the pan-European cast always been part of the plan?

Rawal: The original story of Giorgio Roger naturally consists of characters from different European countries, so we have always imagined it as a pan-European story. It was normal for European actors to be involved as Rosa took her case to Strasbourg [the European Court of Justice]So there is a whole French element. Tom Olasicha, a popular young German actor and speaking Italian in the film, was also a natural choice. With the help of Netflix we were able to gather a dream cast towards the Italian side, where we have Elio Germany, Fabrizio Bontivoglio, Luka Ginger [Montalbano].

Moneo: We worked very closely on both the script and the casting. Elio [Germano] Was always on the project, and he was truly the anchor in the casting. It was an organic process. [The film] Characters and actors from other countries are needed, so we just thought it was a great opportunity to bring actors to the forefront that could perfectly elevate the level of filmmaking.

In terms of physical production I imagine the most important aspect was to build the island?

Rawal: Yes, and the solution was not easy. We had to build this huge steel structure that had to accommodate both talent and crew. In this case Netflix along with their physical production experts Teresa helped us discover it. We opted for Malta Studios Infinity Pool[[[[Outdoor water tanks along the coast on the water] Which is a huge studio and we built the whole island inside the pool. We were able to replicate the concept of Giorgio Rosa and shoot it perfectly into the ocean. Sydney wanted the island to be truly surrounded by water.

Moneo: I think that’s where our marriage really worked. For this big idea, you really need to have an alignment of different aspects of the product. It has a production plan that blends the actual production design with VFX.

Are you free to publish photo budgets?

Moneo: We don’t want to disclose the budget but it’s clear on larger scales. You can see it. It is a film that was done correctly with the right companies, including music.

Yes, I was going to ask: Jimmy Hendrix, the Italian cover of The Kings, “California Dreaming.” You really went to town on music.

Rawal: The relationship with Netflix is ​​great because during the whole production we knew Netflix with an Anglo-Saxon that it is a bit different from us know it is an intercultural film even in terms of production. One aspect of this was the amazing music supervisor that Netflix suggested.

Moneo: Music points are among the things Netflix has allowed to come [us] To improve the ambition of the film. Same as Cast Alai. This is Two aspects that really influenced creative philosophy.

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