“How my characters are born”

Our interview with the one who did the make-up for the protagonists of This is not Hollywoodthe collection on Disney + by Pippo Mezzapesa which tells the tragic demise of Sarah Scazzi in 2010: make-up designer Alessandra Vita speaks.

Alessandra Vita, make-up designer of a number of the most watched TV collection at the moment, revealed that she was very pleased with this interview. He studied surveying in highschool, then structure, however graduated in Literature and Philosophy. He then attends a movie make-up academy, and understands that that is the job he intends to do for the remainder of his life. Right this moment she is a superb artist, succesful and scrupulous, and in addition very delicate. We can even inform you about different initiatives through which he took half and secrets and techniques of the commerce, however immediately, eyes centered on the unimaginable transformations carried out within the make-up room, for the one it’s undoubtedly the collection of the second: This is not Hollywood. Our unique interview.

This is not Hollywood: unique interview with make-up designer Alessandra Vita

This is not Hollywood: I would love you to speak in regards to the course of, due to this fact the meticulous research of the assorted characters on this story. How did this occur and the way did it lead you to the ultimate outcome?

“I at all times begin with research and documentation work. Right here I used to be facilitated. After that, I wanted to establish myself. I spend days and particularly nights, imagining the lives of “my” characters, considering like them, understanding what drives their instincts. A course of that comes virtually spontaneously to me. Typically make-ups seem to me like visions. On this section I typically make use of digital design to acquire preliminary suggestions. Then we get to the make-up take a look at and solely at that time do I give the inexperienced gentle to improvisation. We did not need to create photocopies of the actual characterseven when it was helpful to copy or invent some peculiarities, such because the enamel of Giacomo Scazzi or stained pores and skin Concetta (which the actual Concetta didn’t have on the time), simply to call a pair. We needed to evoke them, sure”.

Had been there any make-up snags or inconveniences on set?

“Scenes are by no means shot in sequence. So, within the scene the place the drop of paint falls on Concetta’s cheek, we first shot the half the place the drop had already fallen. It was, subsequently, from a peak of two meters and additional, on the ladder, subsequent to the digital camera, with the dropper and a water coloration, to drop it in the very same level, which was additionally very near the attention. I had inexplicable luck and hit the precise level first hit”.

Collection or movie whose make-up work you recognize?

“My make-up idols are: Ivana Primorac for the sweetness make-up of The Crown, Roberto Pastore for the character design of Il mio corpo vi bury and Kazu Hiro for the FX make-up in Maestro”.

Upcoming initiatives within the pipeline?

“From November twenty first you will discover on the cinema “Le Déluge” by G. Jodice in regards to the final days of the French royals on the outbreak of the French Revolution. Then “Diva Futura” by GLSteigerwalt with Pietro Castellitto and Barbara Ronchi shall be launched. I additionally add that pFor significantly advanced characters, which require huge laboratory work, I avail myself of the collaboration of specialised professionals who I respect. I want to point out on this case Valentina Visintin, designer of Cosima Misseri’s prosthetics on Qui è non Hollywood and of Louis XVI’s on Le Déluge and of all of the prosthetics on Diva Futura”.