Paolo Fittipaldi

HOW DO I EXPLAIN TO SOMEONE THAT WRITING IS A JOB?

How do I explain to someone that writing is a job?

This is a question that those who do my job have asked themselves at least once in their lives. Not that it is mandatory to explain it necessarily, but at a certain point you just want to do it.

As for parents and relatives, put a cross on it. Most of them will not understand, at least those like me who have parents from another generation, maybe even two generations ago.
Once you have made peace and understood that the battle with the family is lost, focus on the rest of the world.

Those who work with creativity know it well: when you produce only ideas, so ethereal, impalpable, volatile and gaseous, often you can’t prove that ours is a job. We don’t make necklaces, shoes, furniture or have a shop of something. So make your peace with them too, it won’t help anyway. They won’t understand.

Once you understand this, move on to the next step: let’s take those who do our creative work as a hobby or passion (writers, DJs, musicians, singers, copywriters and many others). Without going into the merits of meritocracy or increasingly miserable engagements, given the enormous quantity of “artists” willing to make any kind of compromise, I happily tell you: forget it. Even with them, the battle is lost. They make ends meet, have fun, do it to earn a little extra or for fun and they really don’t care. Many have a steady job that allows a quiet life and are willing to risk only a small percentage of risk. Like prudent stock packages. So trying to convince many of them (at least those with very low creative or technical qualities) is an impossible task. Forget it.

And those who do the same job as us? They are in your situation, they know it well but between those who complain (and there are many) and those who praise themselves by fearing billions of jobs left and right, we risk giving in to easy grumbling or exhausting envy with a sense of inadequacy and depression attached. So let’s proceed.
Having digested this, let’s try to convince the State, the immense world of VAT numbers and technicians of the quick economy, but honestly, I advise against it, there is no way out.
But then who is left to convince? Have you asked yourselves? The answer seems obvious. Think about it. Who is left?
You stay! We have to convince ourselves every day that this is our job, even when we don’t get invoiced, even when they don’t pay us the invoices or they take 6 months to pay them or a job doesn’t come in even if you pay for it. We have to convince ourselves every day that we are on the right path and that there is no plan B, that there is no parachute job, that we wouldn’t be able to do anything else. That we have to try every damn day. I don’t know why, but I feel that there is and it is immense.

Personally, I try not to betray the child for the man, not to betray myself by doing things I don’t like. It’s not necessarily just a creative issue, all jobs are like that, even the craftsman, the economist or the pharmacist.

And if you are convincing enough with yourself every morning, then raise your head with pride and at least for one day, that damned question will stop tapping in your head.

 

festival del cinema di venezia

AT THE VENICE FILM FESTIVAL. A STORY WITHIN HISTORY

This story tells how I got to the red carpet at the Venice Film Festival, but it also contains the story of a moment immortalized from two opposite points of view thanks to a smile stolen from… Shia LaBeouf.

I had always dreamed of photographing actors at the Venice Film Festival, on that famous Red Carpet, but I had never had the contacts or even the opportunity to get there. The year was 2012. That afternoon I was surfing Facebook. I received a message from a certain Gabriele who asked me if I was available to go and do some shooting at the Venice Film Festival for his film magazine, Kinematrix. I don’t believe it! Obviously I immediately gave him my availability, and immediately afterwards he revealed to me that he had the wrong person: he was convinced he was talking to another photographer that he had found on some professional page, but in the end, since we had met, he confirmed me; and this is the first story that for me is incredible!

I finally land at the Festival. From the very first day I had a post venice film festival>in the BlackBlock, a room set up specifically for photographers, with high steps like bleachers, from which we can immortalise actors and directors for various magazines. And so I find myself in front of a list of actors that I have always adored, ready to look into the lens for us. Photographer Winona Ryder, Joaquin Phoenix, Robert Redford, Philip Seymour Hoffman, Michael Shannon, James Franco, Pierce Brosnan and of course Shia LaBeouf, who when he arrives on the BlackBlock there is no way to make him smile. How serious! It’s not a funeral! All the photographers shouted “Smile please!” at him, but nothing. As the evening comes, all the photographers, including me, find themselves lined up along the Red Carpet, split in half on both sides. The parade of actors and directors arrives, and again we immortalize them and shout their names hoping that they will look into our lens and give us some interesting, unique expression.

Shia LaBeouf’s moment arrives: he walks down the red carpet and everyone yells at him to smile, but nothing. A unique pout, perhaps to maintain character, who knows. He continues his walk, when he arrives in front of my station. All the photographers are busy shooting from behind their cameras and I, in that moment, keeping my finger ready on the “trigger” like a sniper, reveal my face from behind the camera, look Shia LaBeouf straight in the eyes and when he meets my gaze, I give him a giant smile that he can’t resist, and he returns it! At that moment I took the photo and immortalized her long-awaited expression, while my fellow photographers who saw the scene shouted at me “Bravaaaa!!!” And, just as I capture the actor smiling, a photographer on the other side of the red carpet captures me smiling at Shia. And here is the magic of a double shot that tells a moment captured from two opposite and complementary points of view…

Click here to see more photos from the Venice Film Festival

farsha

BEACH OR WORK OF ART? IN SHARM EL SHEIK

I have been in Sharm El Sheikh for a few days when a group of Italians, met by chance on the ship, tell me about a very particular beach half an hour from my resort. So we organized a minibus and the next day, no sooner said than done, we all set off together to discover this curious place.

The car finally stops and shows us an entrance that in itself leaves us astonished and even more so, the panorama visible to our eyes once we cross the threshold, created from an apparently casual assembly of the most disparate ancient objects. At the top of a very long staircase that leads to the beach, we see a wonderful sea, embraced by this beach that seems, at first glance, an open-air attic where you can find huge wooden doors of ancient Egyptian houses, baskets of 50s irons, puppets, 80s motorcycles placed there together with the rest as furniture, coloured blown glass ampoules that come down from everywhere, coloured carpets that paint the landscape, an infinite number of tin containers of different sizes that together with the doors and other objects placed on a slope, make up impressive installations that are truly alternative, divided by colour and style, and at a certain point it is all clear: whoever created all this is an Artist who has been able to make a beach a work of art unique in the world! By chance (and perhaps nothing happens by chance), my group and I were under the umbrella chatting, when a guy who was clearly Egyptian but very good at speaking our language approached us. He greets us and welcomes us as a host knows how, finally wishing us a good day. It was him! And I, unstoppably curious by nature, can’t resist the sudden urge to ask him three thousand questions to find out the history of that incredible beach. An impromptu interview with Alfred could not be missed.

Farsha