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Microsoft word - i am love - presskit from magnolia.doc

Mongrel Media
High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS


We open on a journey through the idyllic snow covered streets of Milan in the run up to
Christmas. We enter a stunning, bourgeois mansion house: the home of the wealthy
Recchi family. The families are gathering for a birthday dinner in honor of the
patriarchal figure of Edoardo Recchi Sr. We are introduced to Emma, the stylish head of
the household who is overseeing arrangements with the servants.
With his health in a poor state, Edoardo Sr is preparing to hand over the reigns to the
Recchi textile business. It seems a foregone conclusion when Edoardo Sr announces that
he will be handing over to his son Tancredi. However, when he tells them that his
grandson Edoardo Jr (Edo), Emma & Tancredi’s son, will have joint control there is a
ripple of surprise at the dinner table. Gianluca, Edo’s brother is left out of the deal.
Later on, a young man, Antonio, arrives at the house to deliver a cake to Edo. Having
beaten him in a race earlier that day, the chef has brought a consolation present. Emma is
introduced to him and thinks nothing more of the encounter.
Some months later, Emma by chance comes across a note from her daughter Betta to
Edo. In the letter, she tells Edo that she has fallen in love with a woman. With her
daughter living in the UK where she is studying, Emma is starting to feel that her
children have their own lives in which she no longer has a part. She struggles to take this
new information on board.
Meanwhile, Edo and Antonio are hatching a plan to launch their own restaurant. With
Antonio’s culinary flair and Edo’s business acumen, they seem to have the perfect
partnership. The task of persuading Antonio’s restaurateur father to let them use his land
falls to Edo.
When Edoardo Sr dies, Tancredi decides that the best option for the Recchi family
business is to sell it to the highest bidder.
Edo throws a party in honor of his fiancée Eva. Emma is surprised to find Antonio in the
kitchen. Edo has brought him in to provide the catering.
The Recchi women: Emma, her mother-in-law Allegra (‘Rori’), and Eva meet at
Antonio’s restaurant for lunch. There is some tension as the old order size up the
newcomer. However, Emma is seduced by Antonio’s cuisine and finds herself induced
into a state of reverie. When she congratulates him, he tells her about his house in
Sanremo, the proposed site for his and Edo’s new restaurant.
Shortly after, Betta returns home, with her hair cropped short. She confides in Emma about her girlfriend and asks her to come to Nice for her exhibition. Emma passes through Sanremo on her way to Nice. On arrival in Sanremo, we get the sense that Emma is enjoying the sense of freedom that comes from being in a new place on her own. Then, she catches sight of Antonio in the street and on an impulse, decides to follow him. He meets with an acquaintance and Emma dives into a bookshop. When she spies him outside the shop, she rushes out with an art book in her hands and bumps into Antonio. In her agitated state she forgets to pay for the book. Antonio invites her to his house to show her where his and Edo’s restaurant will be. On the way to his remote country home, Antonio explains that the land belongs to his grandfather. Whilst Antonio goes to dig for vegetables, Emma explores the beautiful surroundings. Emma is aroused when she spots Antonio getting changed. Whilst she relaxes, enjoying the sunshine and tranquility, Antonio appears and the pair kiss passionately. Upon returning home, Emma can barely contain her elation and shock at what she has done. But back in the Recchi residence, Emma’s loneliness and isolation as her children are all becoming independent is palpable. Her only ally is their faithful servant Ida who becomes uncomfortable when Emma attempts intimate conversation. Edo brings news to Antonio that Antonio’s father has agreed to sign over half his land in Sanremo for their restaurant. Antonio has conflicted emotions and Edo is hurt and confused at his muted reaction. Edo picks up the art book that Emma had left behind – Antonio snatches it from him. Edo tells Antonio that he’d like him to cook for an important business dinner that his father is arranging. Emma goes to Sanremo to discuss the menu for the coming dinner with Antonio. Unable to contain themselves, they head to his house. Antonio tenderly undresses her and they have unbridled sex. Becoming increasingly close, Emma relates to Antonio her childhood in Russia. She also tells him about Edo’s favorite dish that she cooks for him, a Russian soup called ‘oucha’. Antonio cuts Emma’s hair into a short bob. At one with nature and now totally at ease with each other, their bodies entwine amongst the flowers. In the meantime, the Recchi men meet with their potential buyer in London. Edo is horrified that they plan to sell the company and opposes the sale. He is desperate to cling to family tradition. However, Tancredi is adamant and insists that they must look to the future. Edo returns to Italy distraught. He tries to visit Antonio in Sanremo. Antonio is out in the fields with Emma and Edo finds Emma’s hair cuttings on the floor. A shadow of doubt starts to creep in. The day of the grand dinner arrives and the purchasers of the Recchi business are attending. Emma seems on edge and ill at ease. Then, when the first course of oucha arrives, Edo finally pieces everything together: one look at his mother confirms his worst fears. Edo storms off and Emma gives chase. Emma is unable to convince him and they row, leading to a tragic incident. Spurred on by the crushing events of the following days, Emma admits to Tancredi that she is in love with Antonio. Scandalized, Tancredi tells her she is no longer part of the family. Finally cut free from the shackles of her past, Emma runs off leaving a shocked family in her wake. A CONVERSATION WITH THE CAST AND CREW

Tilda Swinton · Emma Recchi
Change, overcoming the idea of oneself, as created by society, has been one of my main
interests since Orlando. In Io Sono L’Amore, a film that Luca and I worked on for 7
years, these themes are presented and they are in a way that is even more magnetic.
Valentina Marianini · Coordinator of First Sun Production
I basically experienced the “gestation” of this film. Luca and Tilda spoke about it on the
set of The Protagonists in London in 1998. Since then Luca has always kept me updated
and plugged into the project, reading me various drafts and drawing me into a universe of
love and cooking that continued to grow for years, and then in 2003, I worked as a
general organizer for the film that may be considered a sort of ‘Io Sono L’Amore - study’:
Cuoco Contadino. Since then, we did everything to make this film that both Luca and
Tilda tended to almost like a child. And finally we succeeded.
Silvia Venturini Fendi · Associate Producer
I helped produce this film because of the great esteem I have for Luca, who I had already
collaborated with. He had already been assigned the direction of two shorts for Fendi:
Firstsun and Golden Mirror, which is when a beautiful friendship started. Luca has
infinite knowledge of cinema, which reveals itself when he directs and produces films.
Francesco Melzi d’Eril · Mikado Producer
I decided to produce Luca’s film because I strongly believe in him as a director, and
because I loved the screenplay and also because of the high quality of talent that Luca
surrounded himself with - starting obviously with the great Tilda Swinton.

Walter Fasano · Screenwriter and editor
Often directors whose films I edit ask me to read their screenplays before starting to
shoot. This time Luca asked me to write with him the final draft of the film, which he
used to shoot Io Sono L’amore. I feared that this could blur my job of editing, but I
believe that this didn’t happen because we were able in many instances to re-think the
film in slow motion.

Giulia Maura · Post Production Supervisor
It gave me great satisfaction to be able to dedicate my professional energy to a high
quality Italian film like this one. I very much liked the courage of the production which
decided to take risks, in making the work of an original and extraordinary director that
deals with themes that differ greatly from those that are mostly seen at the cinema today.
Barbara Alberti · Screenwriter
At the beginning, nothing was offered to me. Luca only had me read the story and I was
fascinated. I found it superb that the Emma’s and Antonio’s love continued beyond the
tragedy. According to every standard, the death of Edo should shatter everything and
separate the two lovers forever. And yet it doesn’t. Aeschylus is evoked and mocked. To
only be able to work on the project! I felt an infantile desire to try in some way to
participate and take part in such beauty. I would have given my right hand, but there
wasn’t a need to go so far. One day Luca asked me to collaborate. The film he spoke
about then was the one he went on to make.
Ivan Cotroneo · Screenwriter
From the first moment that Luca spoke to me about the film he was planning to make, he
used the expression “social melodrama”. I believe that these two concepts are interwoven
and that’s why the two women’s choices of love are proto-romantic and revolutionary.
Edoardo Gabbriellini · Antonio Biscaglia
I have known Luca for several years. In 2007, he asked me to read the screenplay of Io
Sono L’Amore
, as if he were asking a friend for advice. Then, a little later, while we were
talking about the character of the chef, he said to me, “Too bad you’re not a star. If you
were, I would have chosen you.” He probably already then saw Antonio in me in some
way.
Candice Zaccagnino · Associate Producer
Luca told me the story of Io Sono L’Amore when we made our first film together
[Melissa P. 2005 N.d.r.]. I remember that tears came to my eyes. I wanted to make
another film with Luca. This one was financed with sweat, blood, a lot of trust in the film
and lots of love for the project.

Marco Morabito · First Sun Producer
We had a lot of difficulty in financing this film – just like all projects that do not perfectly
meet the requirements of a system that is afraid of diversity and does not sustain it. First
Sun developed the project. Mikado supported it. The film was financed by the
extraordinary commitment of all the people involved that have always given absolute
priority to quality.
Francesco Melzi
Io Sono L’Amore was financed with funds from the Italian Ministry of Culture, Mikado
Film, RAICINEMA and with private equity and private investments.
Alba Rohrwacher · Betta Recchi
Working with Tilda and Marisa Berenson surprised me because notwithstanding their
talent and their experience on the screen, their humanity prevailed. I was fascinated by
how they worked. Tilda is a significant actress and point of reference for me. Marisa
Berenson is an icon, with her manner, her background and her film experience. She is
perfect to speak about the past that the social class represented in the film is anchored to.
Pippo is extraordinary in the way in which he seals himself up in his role doing the
opposite of everything he does in the theatre, where he frees himself from every
convention in every performance.
Candice Zaccagnino
The story was written for Tilda. Flavio was already familiar with Russian culture. Betta
was always Alba. The rest came later and I love the choices that were made. They were
all radical: Pippo Delbono, Maria Paiato or Edoardo Gabbriellini. Some were chosen
because of their previous experience like Gabriele Ferzetti or Marisa Berenson. Others
were chosen because of their capability to reflect reality, and some of the Recchi
household were played by non professional actors. In my opinion, a true family and an
absolutely real microcosm were created.
Marco Morabito
Tilda is a special being. Tilda is and has always been Io Sono L’Amore. But the entire
cast is exceptional. Wonderful people as well as great actors. Pippo Delbono’s madness,
Alba Rohrwacher’s splendour, Gabriele Ferzetti’s class, Maria Paiato’s strength, Edoardo
Gabbriellini’s exuberance. I will never forget the emotion when Luca and I met Marisa
Berenson in Paris for the first time.

Francesco Melzi
No doubt about it – Tilda Swinton is Luca Guadagnino’s partner in crime. He assembled
a cast of extraordinary women around her. I would underline the sophisticated encounter
of Tilda and Alba Rohrwacher, the Oscar winning European star alongside the award
winning and most promising Italian actress. Maybe even the best of her generation.
Tilda Swinton
The film is about a woman, named Emma, aged between 40 and 50, who doesn’t generate
wealth or culture. Her husband Tancredi, a rich manufacturer from North Italy, picked
her for her beauty, just as he would have chosen a piece of artwork. Emma is a piece of
property; she had children and she fulfilled her role and now she finds herself at that
point in life when the cage, the prison she has been living in, vividly appears before her
eyes with all its explicit drama. Emma comes from a cage, Russia, that she left in the
pre-Gorbachev era to have access to the free world. And in the free world she locked
herself up in another cage, the family. And lies.
Ferdinando Cito Filomarino · Director’s Assistant and Consultant
I helped Luca to meet people, to learn about the idiosyncrasies of Milan that his film is
about and to apply them to the screenplay, costumes, and direction of some of the actors.
Our work relationship progressively became an open dialogue, where, at a certain point, I
felt free to express my opinions and he discussed them with me as freely. This occurred
thanks to Luca’s unconditional listening ability, especially when it comes to people who
love cinema as much as he does.

Chiara Tomarelli · Anita
When Luca suggested that I participate in his film, the only possibility was a small role
that became even smaller through the various revisions of the screenplay. But I knew
that Luca is really a true director, who knows no such thing as small parts because even
the smallest detail is taken care of. And that’s what he was like. We created a character
that had specific characteristics and her own story.

Flavio Parenti · Edoardo Recchi Jr
We worked on so many levels. We tried to find the right posture for Edo, the right hand
movements, and the details of his elegance in searching for the “natural formality” that is
typical of the aristocratic class. Luca was very severe with me. His dedication to his
work and to his vision pushed him to never lose control over me and to never be satisfied.
This dynamic generated friction between us that incredibly benefitted my search for
Edo’s inner dimension. I still don’t know if his behaviour towards me was manipulative
or unwitting, but I like to think that he always knew what he was doing.

Cinzia Castania · Assistant Director
Luca is able to create relationships with the entire set. He is very curious about the people
that surround him and curiosity can be a great quality. Moreover, what he wants to attain
is very clear. It is fundamental for a director to have a troupe that supports him. Apart
from a few tense moments or occasional distractions, which is normal in a film that is so
difficult, I tried to keep up with him in his little fits of madness as well.
Mattia Zàccaro · Gianluca Recchi
I believe it’s complex to find only one denominator in the methodology that Luca used to
give form to Gianluca Recchi in me. Luca is unfamiliar – or rather all too familiar with
doing things halfway. In my opinion, thanks to his disarming sincerity, he was able to
justify the differences in different relationships with the actors and actresses, without
hiding behind the hypocritical assertion that everyone always needs the same identical
treatment. His best quality however, seems to be his ability to establish a balance of
strengths, made up of constant and powerful imbalances.
Alba Rohrwacher
When I got to the set, Luca cut my hair, gave me two pairs of pants, a bag and that was
enough to put me into Elisabetta’s shoes. I never needed so little before; I was left
speechless. When something like that happens, it means that everything around you is
perfect. I immediately found a certain walk, and a look that was Elisabetta. Because I
was surrounded by an absolute truth. And I wasn’t the only one to have that experience.
Francesca Di Mottola · Set Designer
Since we first met, Luca involved me in the film’s atmosphere with a very wide array of
images that he had collected and that he was keeping sorted in separate themes: the city,
nature, Soviet Russia, the factory, Emma, Tancredi, Allegra. Among these images that
served as points of reference, there were paintings from various periods of art history,
photographs of metropolitan landscapes and portraits to draw inspiration from to
understand the characters that we had to portray in the film.

Anna Esterovich · Tilda Swinton’s Dialogue Coach
Tilda is an outstanding actress. She wanted to know all about Russia; she tried to
understand and to bring forth the small details of daily life. She always tried to give the
best of herself. Every once in a while, after the hundredth “That’s no good”, I feared she
would lose her temper, but she never did. The biggest difficulty, without a doubt, was
related to Russian phonetics that has sounds that don’t exist in either English or Italian.
The final outcome in the film is excellent. She really seems Russian. Russian through
and through – passionate and a little crazy as Russians may be.
Alice Guareschi · Creator of Betta Recchi’s artworks
The photo at the Hanbury Gardens is my work. Luca wanted the picture given as gift
from Elisabetta to the grandfather, to signal a certain sense of separation, a passage, a
silent declaration of expressive but also existential autonomy. If the drawings have to
speak about the years of growing up, the ties with the family, the glass office in the back
of the garden where she looked for herself among the others, the picture on the other
hand starts a new season: a more adult and knowing look, London, the outside world.
Francesca Di Mottola
In the first preparations for the film, we did an in-depth study of the characters where we
discussed their pasts, their traditions and their habits. This important phase of research,
that led us to observe families with a lifestyle similar to the Recchis’, made me
understand how important it was to highlight, with the sets, the sense of oppression of a
family that is constrained by its own traditions and in this way underline the isolation of a
woman who lives in this environment as a prisoner in her role as wife and mother.

Antonella Cannarozzi · Costume Designer
No specific luxury brand represents the characters, but all of them, altogether, represent a
status. Those openly referred to are, for the most part, quotes and acknowledgements.

Silvia Venturini Fendi
The concept of Made-in-Italy [Fendi brand name] is very present in this film. For Luca,
aesthetics is substance: in any case, in the film, it can’t be said that fashion is spoken of,
it’s more of a family style. Just look at the clothing of the Recchi men. The women, on
the other hand, dust off archived articles of clothing, like Marisa Berenson’s fur from the
1970s, clothing that is probably passed down, just like paintings. The up-to-date nature
of these antique things lies in their quality. Besides, Made-in-Italy is known in the world
for this reason.

Fernanda Perez · Makeup Artist
The first time I came to First Sun, I saw walls and walls that were covered with images.
Luca made, for each scene of the film, a sensation in images, and those walls were a
source of inspiration and above all they helped you understand what he wanted. There
were paintings, fashion photos, photos of art, photos of famous people, photos of
strangers, colours, forms, houses, bags. And for each character, there was a perfect
description that was then narrowed down with the help of the hairdresser, costume
designer and director of photography, but above all with the input that each actor gave,
especially Tilda Swinton. Basically I gave my hands to a director who paid attention to
every detail.



Flavio Parenti
I believe that in Io Sono L’Amore it is possible to speak of styling: it seems to me that the
director’s taste permeated all the departments, creating one sole taste that suits Edo very
well.
Walter Fasano
The search for a balance between images/narrative and John Adams’ music which for all
purposes is a main character in the film played a fundamental role. A moment in the film
that I like very much in this sense starts with Emma’s arrival in Sanremo and ends with
Emma’s and Antonio’s first trip to the countryside. The passage from Adams’ score, that
seems to be written for the images when instead the opposite is true, to the accidental
radio montage in the truck, until the deafening concert of the sounds of nature gives a fair
idea of this balance.

Francesca Di Mottola
Luca had a very clear vision from the beginning of how he wanted to portray the City and
together we walked very much, taking pictures of the façades of the squares in the centre,
the courtyards. We looked for glimpses of the city that would show the architectural
strength of monumental Milan which is impressive with its buildings, elegant façades of
buildings and cranes of so many construction sites to show the modernity of a changing
city. The shots from up high show a city in perpetual motion where the snow falls
silently.

Cinzia Castania
The film is very “rich” from a technical-artistic point of view, without exaggerations and
on a low-budget with “bold” choices, that at times are even risky. One of the things I
admire most about Luca is how he steps over the edge, taking risks and fearlessly daring
to do things, as very few do in Italy. It was very interesting to follow him and help him
from this perspective.
Ferdinando Cito Filomarino
I see Io Sono L’Amore as a film that exists independently from current trends and, in this
sense, I see it as stronger and inevitably related to the kind of cinema that lasts
throughout the years.
Mattia Zàccaro
The crew were a true discovery for me. I was surprised and fascinated by the amount of
work and their technical abilities in adapting a person to a character, like Mattia into
Gianluca in particular. His hairstyle, his make-up, his clothes were able to define him, in
my opinion, in a way that is consistent with the times and his story. Besides, could the
younger Recchi have not had blue eyes or not put cufflinks on monogrammed shirts or
not have a nanny, Ida that conforms to certain standards even in 2000? I don’t think so:
the Recchis, perhaps, are not the Agnellis.

Barbara Alberti
In addition to having worked with the young maestro, it was a very happy encounter with
all those that participated in the film - Tilda Swinton, the miracle; the producers: the
loved Momò (Marco Morabito N.d.r.) and Mughi (Massimiliano Violante N.d.r.), the so-
called Intrepids; Walter Fasano, humble because he is a genius; Carlo Antonelli the
“dioscuro” (the other is Luca) the costume designer that dresses them “from the inside” –
I’ll stop myself – you will see other names in the opening credits – everyone was in love
with the project, and they were ready to throw themselves into the fire for the director-
and they did.
Valentina Marianini
There were problems as there in all the productions I’ve worked on, but when, despite the
problems, you take home a film, a work, of such a high level, the satisfaction and
emotions compensate for everything.
Marco Morabito
The thing I love most about this line of work is the extraordinary possibility of giving
form to ideas. When Luca first spoke to me about Io Sono L’Amore, I pictured the film
that Luca wanted very clearly: the story and the images that he would make. At that
point it was done. We couldn’t go back and we had to make the film. Io Sono L’Amore -
what a title! It became a mission. And I am very proud of the outcome.
Walter Fasano
Editing the images of Io Sono L’Amore lasted almost six months. The first draft of the
film lasted three and a half hours and it was quite a task to be able to cut it down to less
than two hours without ruining some parts of the story that required more time and
slower rhythms. The current duration was not imposed but it was what seemed right for
the film at the end of the editing process. In post-production, we carefully tried to take
care of every element, just as Luca did on the set. Starting with the work on the opening
credits, then moving on to the sound (editing and mixing), thanks also to some excellent
collaborators.

Giulia Maura
It is known that all the knots are combed out in post-production. Io Sono L’Amore was
not the exception. The difficulties we had were the direct consequence of problems we
had on the set. In particular, this being a film that takes place in Milan in two completely
different seasons (winter and summer) but shot entirely in the summer, post-production
had to resolve visualization problems related especially to digital visual effects that
recreated snowy environments.
Edoardo Gabbriellini
This film immediately presented itself as a fatal attraction: the opportunity to work beside
a superstar like Tilda, and the possibility of training with Carlo Cracco, one of the best
chefs in the world for one month. It is not every day that a character is prepared this way.
I would get to know a world that I never would have gone near otherwise. I thought: “I’ll
kill two birds with one stone. I’ll make a movie and learn to cook.”
Carlo Cracco · Chef and creator of gourmet dishes in the film
I tried to get into the characters to best understand what was inside them and what their
aspirations were. I wondered: what do these people want? What moves them? Actually
that is the same thing that I do every time a customer takes a seat at my restaurant. I try
to understand his psychology and his spirit, to offer the dish and experience that he may
crave that very moment. Cooking is above all communication, because it is where the
magic of interchange may take place that ties people together and unites them with this
very fine and magical thread that is food. In some cases, it brings them closer together,
like when for example Emma makes soup for Edo or when Antonio cooks for Emma. It
other cases it may create distance, like when Antonio’s father doesn’t let him create
special dishes.
Flavio Parenti
As far as Edo is concerned, Antonio’s cooking will be the sword that pierces his heart.
Antonio’s cooking will steal the mother’s love. Antonio’s cooking will show them
betrayal. When Edo sees that Antonio has copied the recipe for oucha (soup of Russian
fish) that only his mother knew, the betrayal will be clear.
Barbara Alberti
The acknowledgement of the relationship between Emma and Antonio is experienced by
Edo as a total betrayal. Emma and Antonio, the only people he loves. His whole world
is suddenly empty. Without them Edo is alone. His girlfriend, chosen randomly, because
of his indifference, weakness and laziness is banal and fierce in her ambition, with her
vulgarity perfectly fitting the Recchis’ new financial deal. His mother and his friend
were also the only salvation from the enormous burden of his father and from his brother,
who never questioned himself in his life. Whilst, like Hamlet, to his detriment, Edo
questioned himself all too often.

Edoardo Gabbriellini
Inside the formality, the fluidity of the dollies, in the equipment of classical cinema, Luca
was always looking for life. And his own timeline. It is wonderful to work this way, with
very long shots or close-ups (he never uses 35mm – Luca basically only uses perspectives
that are forbidden on TV), this way the human becomes an element of the landscape. In
this way, the edge of the abyss is reached, but the emptiness and the fall are for those who
stay in the world. Emma saves herself and she saves herself with my character.
Tilda Swinton
Life is the great engine of change in human beings. It is the great creator of crises, the
catalyst for metamorphoses. Emma falls in love with another outcast. Like her. A
passion that is seen as unacceptable by her social class, family and society in general. In
this, Emma has many predecessors in cinema and literature, like Emma Bovary, Alida
Valli from Senso, and Anna Karenina. She is a giving woman; her love is unconditional.
A person who is able to face absolutes, like life, death and all absorbing passion and to
never give up. She is a pure radical.

Pippo Delbono · Tancredi Recchi
This is a film that speaks about our country and it does so not only by entertaining but by
addressing political matters. It is true that Italy has undergone profound changes these
last ten years, but the upper-middle class of Northern Italy, which is represented in the
film, is very, very old. It has a code of honour that is practically unchangeable. I,
Tancredi, perhaps am the worst of all: my father still has values, he believes in his
mission, he thinks nobly. Tancredi however is willing to compromise, making money is
important, he has lost nobility, only his mask is left.
Alba Rohrwacher
Io Sono L’Amore is an original film. I have never been so curious to see a film as a
viewer after making it. Because, as an actress, I feel as though I am actually part of a
beautiful project, but it almost scares me. A story that is definitely not conventional for
Italy. A style that is absolutely unexpected. A film where the creative force can be felt.
I felt it every day when it was being shot: Luca is a director that always knows how to
take distance from the script. The script is present, but on the set something new takes
place. The attention to details is absolute. And necessary.
Chiara Tomarelli
Anita (my character) along with the household staff, has the role and the precise function
of participating in the definition of the world this family has always lived in. And also the
job of showing how these universes may meet and in the distance may even be very near
one other. As later happens between Emma and Antonio, the chef.

Ivan Cotroneo
The world we speak about is precisely built on the Italian upper-middle class. But there
were many ideas that we took from other sources: novels, music, films. We tried to
reproduce a reality, but I believe I am not wrong in saying that at the same we tried to
create a hyper-reality.

Silvia Venturini Fendi
The film represents the destinies of some families that I know well. The switching over
of generations that is seen in this film is traumatic for these young people who always
have less space. Violante Visconti di Modrone - Verde Sanfelice. This film, in its
representation of social classes, is a work that is totally true to reality.

Ferdinando Cito Filomarino
I believe that, at the level of the screenplay, the characters and places that were created
referred to a world; but since the very preparation of the film, these characters and these
places have been rewoven with the realistic fabric of “that Milan”, transforming itself in
it. I believe that having once considered the realistic fabric of this representation, the
film passes into an alternative dimension, that is the cinema, where that link to reality
doesn’t exist and doesn’t need to exist.

Marco Morabito
Io Sono L’Amore is the representation of beauty, with all the strength that beauty gives
back to whoever sees it. Love is like a destructive force. Love is the only possibility of
salvation.
Francesco Melzi
A fundamentally important aspect of high society in Milan and in Italy that appears in the
film is the criticism of the switching over of generations. The company that passes from
the patriarch-founder to his heirs. The theme is very contemporary in Italy and common
to many entrepreneurial situations. Just to give two examples: a while back people spoke
of the most powerful family in Italy – the Agnellis. The most powerful family today is
the Berlusconi family.

Pippo Delbono
Italy today is dealing with racism, non-spirituality and the absence of ethics, as never
before. The social categories exist and will always exist. Communism failed just like
Catholicism failed. Only extreme contrasts are left: rich/poor, exploited/exploiters,
damned/saved. In this film, love lends itself as a revolutionary force. And it destroys the
capital. Extraordinary!
Tilda Swinton
All the characters in this film are trapped but in different ways. Tancredi’s father, the
founding father, the maker of fortune, the maker of the family’s status, Gabriele Ferzetti,
has reached the point where he has to hand over his power. He makes his choice, because
he believes he sees in one of his descendants “the same look”, but that look isn’t there.
He doesn’t see that that look he is looking for elsewhere, maybe in Elisabetta, the
granddaughter, who is insignificant as a woman in battles for possession and power. But
she has aspirations and talent for liberty, rebellion. The consciousness of the mother, my
character, is raised from that rebellion.

ABOUT THE ACTORS
Tilda Swinton · Emma Recchi
Considered an icon for more than twenty years, Tilda Swinton began her career in the
1980s. She performed in several of her friend and mentor Derek Jarman’s films, an
innovative and sophisticated film-maker whom she remained very close to until his death
in 1994. She was awarded the Coppa Volpi for best actress (1992) at the 48th edition of
the Venice Film Festival for her performance in Edward II (1991) and the following year,
thanks to her performance in Sally Potter’s Orlando (based on Virginia Woolf’s novel),
she achieved international fame. She has been involved in some of the major films from
the contemporary world of cinema, working with Danny Boyle, Tim Roth, Spike Jonze,
Cameron Crowe, Robert Lepage, Norman Jewison, Francis Lawrence, Joel and Ethan
Coen, David Fincher, Bela Tarr, Andrew Adamson. In 2008, she won a BAFTA award
and an Oscar for Best Supporting Actress at the Academy Awards for her role in Tony
Gilroy’s Michael Clayton (2007).
Tilda Swinton’s Filmography
CARAVAGGIO, 1986, directed by Derek Jarman
EGOMANIA-INSEL OHNE HOFFUNG, 1986, directed by Christoph Schlingensief
FIENDSHIP’S DEATH, 1987, directed by Peter Wollen
ARIA, 1987, directed by Derek Jarman
L’ISPIRAZIONE, 1988, directed by Derek Jarman
THE LAST OF ENGLAND, 1988, directed by Derek Jarman
WAR REQUIEM,1989, directed by Derek Jarman
THE GARDEN, 1990, directed by Derek Jarman
THE PARTY-NATURE MORTE, 1991, directed by Derek Jarman
EDWARD II, directed by Derek Jarman
MAN TO MAN, 1992, directed by John Maybury
ORLANDO, 1992, directed by Sally Potter
WITTGENSTEIN, 1993, directed by Derek Jarman
BLUE, 1993, directed by Derek Jarman
FEMALE PERVERSIONS, 1996, directed by Susan Streitfeld
CONCEVING ADA, 1997, directed by Lynn Hersman-Leeson
LOVE IS THE DEVIL, 1998, directed by John Maybury
THE PROTAGONISTS, 1999, directed by Luca Guadagnino
THE WAR ZONE, 1999, directed by Tim Roth
THE BEACH, 2000, directed by Danny Boyle
POSSIBLE WORLDS, 2000, directed by Robert Lepage
THE DEEP END, 2001, directed by Scott McGehee and David Siegel
VANILLA SKY, 2001, directed by Cameron Crow
TEKNOLUST, 2002, directed by Lynn Hersmann-Leeson
ADAPTATION, 2002, directed by Spike Jonze
TILDA SWINTON: THE LOVE FACTORY, 2002, directed by Luca Guadagnino
YOUNG ADAM, 2003, directed by David MacKenzie
THE STATEMENT, 2003, directed by Norman Jewison
THUMBSUCKER, 2005, directed by Mike Mills
CONSTANTINE, 2005, directed by Francis Lawrence
BROKEN FLOWERS, 2005, directed by Jim Jarmush
THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE
WARDROBE, 2005, directed by Andrew Adamson
STEPHANIE DALEY, 2006, directed by Hilary Broigher
THE MAN FROM LONDON, 2007, directed by Béla Tarr
STRANGE CULTURE, 2007, directed by Lynn Hersman-Leeson
MICHAEL CLAYTON, 2007, directed by Tony Gilroy
JULIA, 2007, directed by Erick Zonca
THE CHRONICLES OF NARNIA: PRINCE CASPIAN, 2008, directed by Andrew
Adamson
THE CURIOUS CASE OF BENJAMIN BUTTON, 2008, directed by David Fincher
BURN AFTER READING, 2008, directed by Joel and Ethan Coen
THE LIMITS OF CONTROL, 2009, directed by Jim Jarmusch
Flavio Parenti · Edoardo Recchi Jr.
Flavio Parenti was born in Paris in 1979 and he received his training in France and Italy.
Until 2005 he worked exclusively in theatre as a director and actor. Since 2006, he’s
worked on some mini-series and TV series, including Un Medico In Famiglia, then hit
the big screen in 2008 with Parlami D’Amore, Silvio Muccino’s debut, Colpo D’Occhio
directed by Sergio Rubini and he was in the cast of Il Sangue Dei Vinti. 2009 saw him
with several films in the Venice Film Festival: in addition to Io Sono L’Amore, he
appeared in Citto Maselli’s Le Ombre Rosse, and in Vincenzo Terracciano’s Tris Di
Donne & Abiti Nuziali
.
Edoardo Gabbriellini · Antonio Biscaglia
Edoardo was born in Livorno, Italy in 1975. Edoardo Gabbriellini is an Italian actor,
director and screenwriter. He made his debut at the age of 22 in Paolo Virzì’s Ovosodo
in 1997, and his performance won him the Pasinetti Award as best actor at the 54th
Venice Film Festival. In 2003 he wrote, directed and performed in B.B. e Il Cormorano
which was presented during the International Critic’s Week at the 55th Cannes Film
Festival. In 2003, he was also in Lucio Pellegrini’s Ora O Mai Più and in 2008 in Gianni
Zanasi’s Non Pensarci. He then worked again with Paolo Virzì, playing a role in Tutta La
Vita Davanti
(2008).
Alba Rohrwacher · Elisabetta Recchi
Born in Florence, Italy, in 1979 to a German father and Italian mother, Alba is one of
Italy’s most promising contemporary Italian actresses. She undertook her training at
Accademia dei Piccoli in Florence and then she attended the Centro Sperimentale di
Cinematografia where she got her diploma in 2003. Her presence has brought light to
many Italian films such as Daniele Lucchetti’s Mio Fratello è Figlio Unico (2007),
Riccardo Milani’s Piano solo (2007), Antonello Grimaldi’s Caos Calmo (2008), Enzo
Monteleone’s Due Partite (2009). She won an award at the Berlin Film Festival in 2008
as a European ‘Shooting Star’. That same year she won the David di Donatello Award
for Best Supporting Actress for her role in Silvio Soldini’s Giorni e Nuvole (2007). The
following year she won the David di Donatello Award for Best Leading Actress for her
role in Pupi Avati’s Il Papà Di Giovanna (2008). She has played roles in Giorgio Diritti’s
L’Uomo Che Verrà and Silvio Soldini’s Cosa Voglio Di Più both of which will be
released shortly. Her next part is the fragile Alice della Rocca in La Solitudine Dei
Numeri Primi
, based on Paolo Giordano’s best seller that Saverio Costanzo shooting in
the fall of 2009.
Pippo Delbono · Tancredi Recchi
Delbono was born in Varazze, Italy, in the province of Savona in 1959. An actor and
stage director, since the beginning of the 1980s he has worked with several major figures
from the world of theatre, from the long time famous Odin Teatret to Pina Bausch. In his
many trips, he mastered the techniques of stage dancer. When he returned to Italy, he
made his first debut on the stage in Il Tempo Degli Assassini. In 1995 he directed La
Rabbia
, a tribute to Pier Paolo Pasolini where the initial phase of staging plays is shown
which is then fully expressed in Barnoni winner of the Ubu Special Prize in 1997 and the
Critic’s Prize in 1998. Since 2000, he has directed Il Silenzio, Gente Di Plastica and
Urlo. In 2004 he was awarded the David di Donatello award for best full length
documentary for Guerra, which was made during a tour in Israel and Palestine in 2002
and 2003. In 2007, he tried his hand at directing the lyrical opera Obra Maestra based on
Frank Zappa’s unedited project. Io Sono L’Amore is his first film acting experience.
Maria Paiato · Ida Marangon
Maria Paiato was born in Stienta, Italy, in 1961 and earned her diploma at the Accademia
Silvio d’Amico in 1994. She has worked with the greatest directors of the stage from
Ronconi to Bolognini, taking in Sepe and Loy on the way. Today Maria Paiato is
considered one of the sharpest and most sophisticated performers in Italian theatre. She
has won several awards as Best Actress. In particular, the Flaiano Prize in 2001 and
Olimpici del Teatro Prize in 2004 and in 2007. Her performances on the big screen
include Francesca Archibugi’s Lezioni Di Volo (2007) and that same year Marco
Martani’s Cemento Armato. She was also in the Francesca Comencini’s 2009 Venice
Film Festival competition entry Lo Spazio Bianco.
Diane Fleri · Eva Ugolini
French by birth (Quimper in 1983) but Italian at heart (she has been living in Italy since
she was nine), Diane Fleri is one of the new faces in Italian cinema. She played a role at a
very young age in Gabriele Muccino’s film Come Te Nessuno Mai (1999). She then
worked in Paris theatres, on television series like R.I.S. 2 (2006) and I Liceali (2008-
2009). Yet she continued her activity on the big screen as well, and some of her
performances stand out like her roles in Lucchetti’s Mio Fratello è Figlio Unico (2007)
and Luca Lucini’s recent success Solo Un Padre, where she worked alongside Luca
Argentero.
Mattia Zàccaro · Gianluca Recchi
Zàccaro was born in Rome, Italy in 1988. After he got his high school diploma in 2007,
he moved to Milan to continue his studies in the Economics of Art, at the Bocconi
University in Milan. In the very capital of Lombardia, Luca Guadagnino picked him to
play the part of Gianluca Recchi in Io Sono L’Amore which is his very first encounter
with the world of show business.
Waris Ahluwalia · Mr. Kubelkian
Waris is a popular actor as well as a jewellery designer. He was born in Punjab, India in
1975 and then he went to New York at the age of five, alongside his family. He acted in
several important films, Hollywood and otherwise, including The Life Aquatic with Steve
Zissou directed by Wes Anderson, Inside Man, directed by Spike Lee, and The
Darjeeling Limited
also directed by Wes Anderson.
Gabriele Ferzetti · Edoardo Recchi Sr.
An Italian actor of the stage and the big screen, Gabriele Ferzetti was born in Rome, Italy
in 1925. During his very long career, which includes more than 150 titles, he has worked
with some of the greatest Italian directors and on many foreign productions. His acting
versatility lets him successfully play roles in the most varied genres and styles. Among
his many films, his performances in Michelangelo Antonioni’s Le Amiche (1955) and
L’Avventura (1960), in John Huston’s The Bible: in the beginning (1966), in Sergio
Leone’s Once Upon a Time in the West (1968) and in Vincent Minnelli’s A Matter Of
Time
(1976) truly stand out. Other maestros Ferzetti has worked with include:
Alessandro Blasetti, Aldo Fabrizi, Luciano Emmer, Steno, Marcel Carné, Ettore Scola,
Alberto Lattuada, Liliana Cavani, Mario Soldati and Mario Monicelli.
Marisa Berenson · Allegra Recchi
Daughter of a countess and relative of the famous Italian stylist Elsa Schiapparelli,
Marisa Berneson made her debut as a model and worked for Vogue during the 1960s,
until she met Luchino Visconti who offered her a memorable role in his film Death in
Venice
(1971). Several of her high profile works truly stand out, such as Cabaret (1972).
In 1975, she was the unforgettable Lady Lyndon with her grace and timeless beauty, in
Stanley Kubrick’s legendary masterpiece Barry Lyndon. In 1990 she played a role in
Clint Eastwood’s White Hunter Black Heart.


ABOUT THE FILMMAKERS
Luca Guadagnino · Director, Co-Writer, Producer
Film and stage director, screenwriter and producer, Luca Guadagnino was born in
Palermo, Italy, in 1971 and spent all his childhood in Ethiopia. He got his university
degree at “La Sapienza” in Rome, Italy and wrote his thesis on the cinema of Jonathan
Demme. In 1999 he made his first full length film The Protagonists, which is impossible
to classify. The Protagonists was presented at the 56th Venice Film Festival in 1999. He
then made Mundo Civilizado (2003) which was presented at the Locarno International
Film Festival. In 2004 he presented Cuoco Contadino at the 61st Venice Film Festival in
the “Digitale” section. His next film, in 2005, was the great and controversial hit Melissa
P
. (based on Melissa Panarello’s novel One Hundred Strokes of the Brush Before Bed).
He is also one of the producers of Io Sono L’amore.
Luca Guadagnino’s Filmography
ALGERIE (1996)
QUI (1997), Short film
THE PROTAGONISTS (1999)
L’UOMO RISACCA (2000), Short film
AU REVOIR (2001), Short film
TILDA SWINTON THE LOVE FACTORY (2002)
MUNDO CIVILIZADO (2002)
THE LOVE FACTORY # 2 – ARTO LINDSAY PERDOA A BELEZA (2004)
CUOCO CONTADINO (2004)
MELISSA P. (2005)
THE FIRST SUN (2005), Short film
THE GOLDEN MIRROR (2006), Short film
PART DEUX (2007), Short film
THE LOVE FACTORY# 3 – PIPPO DELBONO BISOGNA MORIRE (2008)
IO SONO L’AMORE (2009)
Barbara Alberti · Co-Writer
Born in Umbertine (Umbria), Italy, in 1943, Barbara Alberti is a writer, screenwriter and
journalist. She has a sharp intellectual sense of wit that is definitely out of the ordinary.
She has written many books, among which her early recently re-edited work entitled Il
Vangelo Secondo Maria
(1978) stands out. In this book, Alberti tried to imagine a
possible and revolutionary life for the Virgin Mary. She wrote the screenplays for many
films including Massimo Franciosa’s La Stagione Dei Sensi (1969) which she wrote with
Dario Argento, Liliana Cavani’s Il Portiere Di Notte (1974), Salvatore Sanpieri’s Ernesto
(1979), Tinto Brass’s Monella (1998) and Luca Guadagnino’s Melissa P. (2005). Barbara
Alberti was also the director of Rai2’s talent-show Italian Academy (2009 edition).

Ivan Cotroneo
· Co-Writer
Screenwriter and actor Cotroneo was born in Naples, Italy in 1968. At the age of 24 he
moved to Rome to attend the Centro Sperimentale di Cinematografia. He has written
screenplays for films like Pappi Corsicato’s Chimera (2001), Renato de Maria’s Paz!
(2002), Riccardo Milani’s Piano Solo (2007), Maria Sole Tognazzi’s L’uomo Che Ama
(2007) and various works for television. With Bompiani, he published a collection of
quotes entitled Il Piccolo Libro Della Rabbia (1999) and novels entitled Il Re Del Mondo
(2003), Cronaca Di Un Disamore (2005) and La Kryptonite Nella Borsa (2007). He is
currently working on the films with Ferzan Ozpetek and Lina Wertmuller.
Walter Fasano · Co-Writer / Editor
Fasano is a true lover of cinema, an insatiable movie buff, and it is difficult to exclusively
define him as a “film editor,” since he has written several screenplays and has been an
assistant director to several directors. Walter Fasano was born in Bari, Italy, in 1970. He
got his university degree in the History of Cinema at Dams in Bologna, Italy.
Afterwards, he attended editing courses at Centro Sperimentale di Cinematografia,
editing first videos and shorts until his first full length film The Protagonists (1999)
directed by Luca Guadagnino, who he stayed close to even in editing his following
works. Fasano has edited films of various film-makers, including Marco Ponti, Lucio
Pellegrini, Maria Sole Tognazzi and Dario Argento who he also worked with on the draft
of the screenplay La Terza Madre (2007).
Francesco Vedovati · Casting
Born in Rome, Italy in 1966, Vedovati is an Italian casting director. In recent years, he
has helped to choose actors for many advertisements and films for the small screen and
the big screen, such as: Gabriele Muccino’s L’Ultimo Bacio (2000), Fausto Paravadino’s
Texas (2004), Guido Chiesa’s Lavorare Con Lentezza (2003), Gabriele Salvatores’ Come
Dio Comanda
(2007) and Gabriele Muccino’s Baciami Ancora (2009). Vedovati was
also assistant director for many TV and cinematic works including: Gabriele Muccino’s
Come Te Nessuno Mai (1999), Sergio Rubini’s Tutto L’amore Che C’è (1999), Gabriele
Muccino’s Ricordati Di Me (2002) and Baciami Ancora (2009).
Antonella Cannarozzi · Costume Designer
Cannarozzi was born in Taranto, Italy. She first trained at the academy in Florence, Italy,
and then in Brera, Italy, where she got her diploma in set design. After working as a
costume designer for various ads, she came to the world that suited her best: cinema.
Antonella has created sophisticated costumes for many films, including: Roberta Torre’s
Tano Da Morire (1996) which won three awards at the 54th Venice Film Festival in
1997, Luca Guadagnino’s Melissa P. (2005), Stefano Mordini’s Provincia Meccanica
(2006) which was in competition at the 55th Berlin Film Festival, Saverio Costanzo’s In
Memoria Di Me
(2007) which was in competition at the 57th Berlin Film Festival and
Maria Sole Tognazzi’s L’Uomo Che Ama (2008) which kicked off the 3rd edition of the
International Rome Film Festival.

Francesca Di Mottola · Set Designer
Francesca studied restoration at the Istituto Spinelli in Florence, Italy and set design at
the Central Saint Martins College in London, England. She has worked on many
important projects, and was a draftsperson for Tim Burton’s Sweeney Todd (2007) and
Anthony Minghella’s Cold Mountain (2002), both of which gave her the chance to work
alongside Oscar-winners Francesca Lo Schiavo and Dante Ferretti. She was assistant art
director for Julio Bressan’s Cleopatra (2007) which was presented at the 64th Venice
Film Festival in 2007.
Yorick Le Saux · Cinematographer
Le Saux began his career in Paris in the early 1990s. He immediately began working
with high calibre filmmakers like François Ozon, a director who he would continue to
work on numerous films with like Sitcom (1997), Swimming Pool (2002), which
participated in the official selection at the Cannes Film Festival (2003), and 5x2 (2003)
which won the Golden Lion Award for Best Actress (61st edition of the Venice Film
Festival in 2004). Amongst others, Yorick has produced a significant body of work
worked with director Olivier Assayas on titles such as Fin Aout Début Septembre (1998),
Demonlover (2002) and Boarding Gate (2006) which participated in competition at the
Cannes Film Festival in 2007, and with Erick Zonca on Julia (58th edition of the Berlin
Film Festival in 2008).
Fernanda Perez · Make-up Artist
Fernanda Perez is an Italian make-up artist who has worked on many films including:
Luca Guadagnino’s Melissa P. (2005), Maria Sole Tognazzi’s Passato Prossimo (2003),
Paolo Sorrentino’s Le Conseguenze Dell’Amore (2004), Ermanno Olmi-Abbas
Kiarostami-Ken Loach’s Tickets (2005), Roberto Benigni’s La Tigre e La Neve (2005),
Paolo Sorrentino’s L’amico Di Famiglia (2006) and Andrea Molaioli ‘s La Ragazza Del
Lago
(2007).
Manolo Garcia · Hair Stylist
Manolo Garcia was born in Xativa (Valencia), Spain. He has worked on many national
and international film productions, many of which are noteworthy, such as Julian
Schnabel’s Before Night Falls (2000) where he also played a small role as an actor;
Alejandro Amenàbar’s The Sea Inside (2004) which earned him an Oscar nomination and
won him a Goya Award for Best Hairstyles. In 2006 he worked on Milos Forman’s
Goya’s Ghosts and in 2008 on Woody Allen’s Vicky Cristina Barcelona.
Carlo Cracco · Chef
Carlo Cracco is one of the top European chefs. His restaurant, Cracco, in Milan was
given two stars by the prestigious Michelin guide and it was added to The St Pellegrino
World 50 Best Restaurants. Carlo Cracco was born in Vicenza, Italy in 1965. He began
his training at a very young age in Milan, and then moved to France in 1989 to work in
Montecarlo and Paris. In 1992 he came back to Italy and opened his own restaurant
Cracco-Peck, later to be more simply called “Cracco”.

John Adams · Composer
John Adams is one of the most acclaimed musicians on the planet. Io Sono L’Amore is
the first film that bears his name. He was born in Worchester (Massachusetts, U.S.A.), in
1947 and studied at the prestigious Harvard University. From 1972 to 1983 he taught at
the San Francisco conservatory and he made some of his most important compositions.
His lyrical works include Nixon in China (inspired by President Nixon’s visit to the
People’s Republic of China in 1972) and El Nino (inspired by the birth of Christ). The
composer’s style is definitely minimalist or post-minimalist even though he doesn’t
belong to any movement and he re-elaborates the sound in a personal way. Adams is
very active as a composer and as an orchestra director. In 2003 he won the Pulitzer Prize
for his composition of the requiem dedicated to the victims of 9/11 on the transmigration
of souls. John Adams is also a member of the American Academy of Arts and Letters.
In the film, music based on works like Nixon in China, El Nino, Shakerloops, Death of
Klinghoffer
and Century Rolls was used.
Carlo Antonelli · Associate Producer
He lives in Milan and he is the editor-in-chief of magazine Rolling Stone Italia, as well as
a writer, record producer, actor and film producer. His published works include Fuori
Tutti
(1996) for the Einaudi “tipi”, written with Fabio De Luca and Marco Delogu, and
Discoinferno (2006), written with Fabio De Luca for ISBN editions. He wrote the film
Cuoco Contadino (2004, directed by Luca Guadagnino), together with Luca Guadagnino
and Paolo Masieri, and he played a role in Melissa P. (2005, directed by Luca
Guadagnino). In 2006, he helped found First Sun S.r.l.
Candice Zaccagnino · Associate Producer
Zaccagnino was born in Paris, France in 1976. After getting her university degree in
modern literature and specializing in law and finance, she worked with different
production companies and film distribution companies, like UGC Fox Distribution,
Columbia Tristar Film France and Columbia Pictures Film Production with whom she
produced the following films: Luca Guadagnino’s Melissa P. (2005), Eric Lartigau’s Un
Ticket pour l’Espace
(2006), Francis Veber’s La Doublure (2006). Since December 2007
she has been a partner of First Sun and in April 2009 she created the production company
ElianeAntoinette in Paris.
Silvia Venturini Fendi · Associate Producer
She is a fashion designer and Italian film producer. She studied in Italy and England, and
then did her professional training in Los Angeles. She is the symbol of the third
generation of the family that invented that luxury brand Fendi, a leader in the world of
fashion. Starting in the 1980s, she helped re-launch and expand the planetary prestige of
the family’s brand, thanks also to collaboration with the brilliant Karl Lagerfeld.
Following a line of already successful accessories, in 1997 she created the Fendi Baguette
[bag] which became a truly coveted object in just a few months, winning an award from
The Fashion Group International.
Alessandro Usai · Producer
Chief executive officer of Mikado Film, Alessandro Usai was born in Imperia, Italy in
1971. After getting his university degree in economics and completing his education in
Italy and the United States, Usai became a lecturer at Bocconi University in Milan, Italy.
In the past he held roles such as Member of the Board of Directors and General Manager
of Cinecittà Holding and Member of the Board of Directors of Audiovisual Industry
Promotion and Cinecittà Diritti. His previous productions include Stefano Salvati’s
Albakiara (2008) and Ago Panini’s Aspettando il Sole (2008).
Francesco Melzi d’Eril · Producer
He is the general manager of Mikado Film. His Italian productions include Luca
Guadagnino’s Cuoco Contadino (2004), Stefano Salvati’s Albakiara (2008), Ago
Panini’s Aspettando il sole (2008). He has produced one international film, Terry
George’s Hotel Rwanda (2004) which was nominated for three Oscars in 2005 (Best
Performance by an Actor in a Leading Role, Best Performance by an Actress in a
Supporting Role, Best Writing) and set in Rwanda during the genocide in 1994.
Marco Morabito · Producer
He is a producer and editor. For several years he made audiovisual material, thanks also
to his production and post-production company, Ma.Mo., that took him to the Venice
Film Festival twice. The first time was at the 59th edition with Luca Guadagnino’s Tilda
Swinton: The love factory
(2002) in the “nuovi territori” section. The second time was at
the 61st edition with Luca Guadagnino’s Cuoco Contadino (2004) in the “digital cinema”
section, a film he edited. Morabito has also edited TV films such as Ilaria Cirino’s
Briciole (2005) and Stefano Mordini’s Essere Claudia Cardinale (2005). He is one of
the founders of the First Sun production company.
Massimiliano Violante · Producer
He is a Roman producer, actor and camera-man. After performing in several television
series (La Omicidi, 2004 and Briciole, 2005) and already co-founder of the production
and post-production company Ma.Mo, he helped get First Sun S.r.l. started in 2006 with
Marco Morabito. He produced several films including Luca Guadagnino’s Tilda Swinton:
The Love Factory
(2002) which was presented at the 59th edition of the Venice Film
Festival in the “nuovi territori” section, and Luca Guadagnino’s Cuoco Contadino (2004)
which was presented at the 61st edition of the Venice Film Festival in the “digital
cinema” section.
A MIKADO FILM and FIRST SUN production in cooperation with RAI CINEMA in association with LA DOLCE VITA PRODUCTIONS and PIXEL DNA EDOARDO GABBRIELLINI · Antonio Biscaglia BARBARA ALBERTI · IVAN COTRONEO · WALTER FASANO · LUCA Based on a story by LUCA GUADAGNINO Casting FRANCESCO VEDOVATI · JORGELINA DEPETRIS Production Design FRANCESCA DI MOTTOLA Tailored wardrobe by JIL SANDER · FENDI Music Supervisor JEN MOSS for BOOSEY AND HAWKES CANDICE ZACCAGNINO · SILVIA VENTURINI FENDI · CARLO ANTONELLI Produced by LUCA GUADAGNINO · TILDA SWINTON ·ALESSANDRO USAI FRANCESCO MELZI D’ERIL · MARCO MORABITO · MASSIMILIANO Film supported by Directorate General for Cinema Italian Ministry of Cultural Heritage and Activities Italy · 2009 · Colour · Running time 120mins

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Maquette filière ovine caprine - 42 travail philippe - copie-feuillet

Filière Ovine et Caprine n°42 - 4ième trimestre 2012 PARASITES DU MOUTON : FAUT-IL TRAITER ? LA RÉPONSE PAR ANALYSES Catherine Richard(1), Nathalie Kirschvink(2) ( 1 ) D éparte m e nt de paras itologie , Facu lté de Méde cin e Vétérin aire , Un iv e rs ité de L iège ; 2 ) C e ntre du Mou ton , D éparte m e nt de m éde cin e v étérin aire , F UND P Un iv e rs ité de Nam

ain.kyungpook.ac.kr

A CORBA-BASED QUALITY-OF-SERVICE MANAGEMENT FRAMEWORK FOR DISTRIBUTED MULTIMEDIA SERVICES AND APPLICATIONS James Won-Ki Hong Jong-Seo Kim Dept. of Computer Science and Engineering jwkhong@postech.ac.kr Jong-Tae Park School of Electronic and Electrical Engineering Kyungpook National University park@ee.kyungpook.ac.kr Abstract This paper presents a CORBA-based Q

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