His characters have taken on organized crime, driven taxicabs, fought for civil rights and agonized over dark family secrets. If one had to describe Luigi Lo Cascio with a single word, it would be “versatile".
Born in Palermo in 1967, Lo Cascio attended the "Silvio D'Amico" Academy of Dramatic Arts in Rome, earning his diploma with a dissertation on "Hamlet". He pursued a career on the stage and gave little thought to working in film. That all changed when he accepted the role of Peppino Impastato, the courageous anti-mafia activist killed by Cosa Nostra in 1978. After a long series of screen tests to find the perfect actor to play the role, Luigi Maria Burruano, an actor already cast in the role of the protagonist's father, advised the director, Marco Tullio Giordana to test his nephew. Thoroughly impressed, Giordana offered Lo Cascio the part and it was a move that changed the course of his life. His performance in I Cento Passi (One Hundred Steps) was powerful to say the least. The film went on to achieve critical and box office success all over the world. Lo Cascio was awarded a David di Donatello and he instantly became one of the most sought after actors in Italy.
His follow up film, Luce dei miei occhi (Light of my eyes) was directed by Giuseppe Piccioni. Lo Cascio played the role of a lonely cab driver who falls in love with a single mother that works at a frozen-food store. The frozen food becomes a symbol for the cold, lonely lives that each character leads. The film is a dramatic character-driven story about two ordinary, working class people who have lived difficult lives. Each has their own set of baggage and they find comfort in spending time with one another, although Lo Cascio’s character becomes more emotionally involved in the relationship, while Maria, played by Sandra Ceccarelli, seems at times, indifferent. Some called the 2001 film pretentious, and it was not received very well by critics, but Lo Cascio's performance was brilliant and he was awarded the Volpi Cup at the Venice Film Festival in 2002.
In 2003, Lo Cascio really showed his versatility and range with his performance in Alessandro Piva’s Mio Cognato (My Brother-in-law). He played the role of Vito Quaranta, a straightforward, trustworthy guy who gets caught up with the hoodlums who know his brother-in-law, played by Sergio Rubini. Lo Cascio nails the character’s naivety with a sharp sense of humor and great timing that will make you laugh so hard, you’ll cry.
One could say his biggest achievement is his work in Marco Tullio Giordano’s, La Meglio Gioventu (The Best of Youth). The film was originally made for Italian television and aired as a mini-series. In America, the film is shown in one shot, making it a six-hour movie. Lo Cascio is one of the lead characters and manages to carry the film, making six hours seem more like three. The film documents real-life events over a thirty-year period from the 60’s to the 90’s and follows two brothers and a group of friends as they make their way through the tumultuous times. The screenplay, the direction and the acting result in a highly regarded masterpiece that is a must see for anyone interested in Italian filmmaking, current events and recent history, but make sure you have a box of Kleenex on hand as you will be drawn in by the characters, feeling their pain.
What sets Luigi Lo Cascio apart from the others is his sense of timing and perfect balance of comedy and drama that he brings to all of his roles. Perhaps his experience in theatre gave him the ability to connect with audiences and reach deep within his characters to bring their flaws and insecurities to the surface, making them human.
Several of Lo Cascio’s films are available through Amazon and Netflix.
Monday, June 2, 2008
Friday, May 23, 2008
A Conversation with Carlo Verdone
One can say that Carlo Verdone is a jack-of-all-trades when it comes to cinema. He began his career in television in the 70’s. With the guidance of legendary director Sergio Leone, Carlo Verdone made a smooth transition to the big screen. Since the success of his first film in 1982, In Viaggio con Papa (Traveling with Papa), Verdone has been regarded as one of the most important and influential filmmakers of our time. In recent years, he’s gone beyond the boundaries of acting to find further success in directing and screenwriting.
Born in Rome on November 17, 1950, Carlo Verdone has stayed faithful to his Roman roots. Many of his characters have embodied the everyday struggles of the typical Roman man trying to assimilate into the society of the modern woman. The irony portrayed in so many of his characters has led to comparisons with the great Alberto Sordi, although Verdone himself would beg to differ with those comparisons. In an effort to stay on top of the changing styles of Italian cinema, Verdone has reached out to other cultures by shooting some of his latest movies outside Italy, even if he usually stays faithful to portraying the modern Italian man.
I had the pleasure of speaking with Carlo Verdone at “Open Roads”, an annual film festival held at the Walter Reade Theater in New York City showcasing the best new films being made in Italy. I found him to be very down to earth and serious about his passion for the cinema, with a melancholic affection for the colleagues who have had an impact on his career.
As a veteran to cinema, how do you feel about the current status of the Italian cinema?
I believe that we have several good screenwriters, actors and directors. The biggest difficulty with Italian cinema now is the difference in itself from television, which often has good quality but is invasive and also changes the style of cinema…for example, the reality shows and how quickly they change. This confuses the minds of new generations. It’s a very complex situation because the cinema is not as supported by the government as television. So, festivals such as the Open Roads in New York are extremely important for the future of our films. If it was not for the passion and dedication of the organizers of these festivals in promoting our films, it would be much harder for us.
Has your work evolved to stay on track with the new trends in Italian cinema?
Yes, I’ve changed very much since the beginning of my career as a filmmaker. My first films were like explosions of acting, like sole acts. I gave a lot of focus especially to dialect, my Roman dialect. In moving forward, I decided to give less importance to this Roman dialect and more importance to something national and international. I directed the film Maledetto Il Giorno Che T’ho Incontrato (Damned the Day I Met You) in the Chech Republic, and I shot Sono Pazzo di Iris Blond (I’m Crazy For The Iris Blond), with Claudia Gerini in Belgium. I decided to go outside my country and I tried to de-provincialize my films as much as I could.
You’ve been called the new “Alberto Sordi”. How do you feel about that?
I don’t think it’s true. Sordi was a great actor. I was a spectator and a fan of his movies but he had a mask and the mask was unique, so you cannot imitate a mask. Sordi always interpreted one character; very Italian, cynical and funny but it was only Sordi. He also had the luck to work in a very important period…the end of the war, post-war and the economic boom. I worked in the 80’s when the role of the man was in competition with the woman. Therefore, a lot of main characters had difficulties with female characters, not only with their mothers and sisters, but with all women. So, together with Massimo Troisi, I interpreted this situation where the male lost this kind of control or power with women.
What is your connection with Sergio Leone?
Sergio Leone was my first producer. He saw me on a television show where I played a lot of different characters. He called me and said, I want to produce your film. Before we made the first film, I lived in his house for a year. He was a wonderful teacher for me. He was like a padrino, a godfather. So, thanks to Sergio, I am here.
Americans have been accustomed to seeing the usual players in classic Italian cinema such as Loren, Mastroianni, Fellini, Magnani and De Sica with their big budget releases. Their films are beautiful and they are beloved symbols of a magical time in cinema. However, for a thorough look into the evolution of Italian cinema, one should also see the films of Carlo Verdone’s mentor, Sergio Leone, whose “Spaghetti Westerns” shot Clint Eastwood to international fame during the mid 60’s…not to mention his controversial epic, Once Upon A Time In America. The films of character actors, Alberto Sordi and Massimo Troisi embrace Verdone’s chosen genre of comedy where the middle class Italian man is hilariously overwhelmed with survival in contemporary life. The films are very indicative of Italy in the periods in which they were shot; the 60’s through the 80’s in particular. They offer insight into how the Italian culture and standard of living changed since the end of World War II, and also before the mass immigration when most of our ancestors left. Many of these films are available over the internet on sites such as Amazon.com, Milestonefilms.com and Netflix.com. Carlo Verdone’s latest film, L’amore e` Eterno Finche` Dura (Love Is Eternal While It Lasts), which will bring you full-circle after seeing the work of Leone, Sordi and Troisi, is waiting distribution in the United States. For more information about Carlo Verdone’s work, check out his official web site at www.carloverdone.com.
Born in Rome on November 17, 1950, Carlo Verdone has stayed faithful to his Roman roots. Many of his characters have embodied the everyday struggles of the typical Roman man trying to assimilate into the society of the modern woman. The irony portrayed in so many of his characters has led to comparisons with the great Alberto Sordi, although Verdone himself would beg to differ with those comparisons. In an effort to stay on top of the changing styles of Italian cinema, Verdone has reached out to other cultures by shooting some of his latest movies outside Italy, even if he usually stays faithful to portraying the modern Italian man.
I had the pleasure of speaking with Carlo Verdone at “Open Roads”, an annual film festival held at the Walter Reade Theater in New York City showcasing the best new films being made in Italy. I found him to be very down to earth and serious about his passion for the cinema, with a melancholic affection for the colleagues who have had an impact on his career.
As a veteran to cinema, how do you feel about the current status of the Italian cinema?
I believe that we have several good screenwriters, actors and directors. The biggest difficulty with Italian cinema now is the difference in itself from television, which often has good quality but is invasive and also changes the style of cinema…for example, the reality shows and how quickly they change. This confuses the minds of new generations. It’s a very complex situation because the cinema is not as supported by the government as television. So, festivals such as the Open Roads in New York are extremely important for the future of our films. If it was not for the passion and dedication of the organizers of these festivals in promoting our films, it would be much harder for us.
Has your work evolved to stay on track with the new trends in Italian cinema?
Yes, I’ve changed very much since the beginning of my career as a filmmaker. My first films were like explosions of acting, like sole acts. I gave a lot of focus especially to dialect, my Roman dialect. In moving forward, I decided to give less importance to this Roman dialect and more importance to something national and international. I directed the film Maledetto Il Giorno Che T’ho Incontrato (Damned the Day I Met You) in the Chech Republic, and I shot Sono Pazzo di Iris Blond (I’m Crazy For The Iris Blond), with Claudia Gerini in Belgium. I decided to go outside my country and I tried to de-provincialize my films as much as I could.
You’ve been called the new “Alberto Sordi”. How do you feel about that?
I don’t think it’s true. Sordi was a great actor. I was a spectator and a fan of his movies but he had a mask and the mask was unique, so you cannot imitate a mask. Sordi always interpreted one character; very Italian, cynical and funny but it was only Sordi. He also had the luck to work in a very important period…the end of the war, post-war and the economic boom. I worked in the 80’s when the role of the man was in competition with the woman. Therefore, a lot of main characters had difficulties with female characters, not only with their mothers and sisters, but with all women. So, together with Massimo Troisi, I interpreted this situation where the male lost this kind of control or power with women.
What is your connection with Sergio Leone?
Sergio Leone was my first producer. He saw me on a television show where I played a lot of different characters. He called me and said, I want to produce your film. Before we made the first film, I lived in his house for a year. He was a wonderful teacher for me. He was like a padrino, a godfather. So, thanks to Sergio, I am here.
Americans have been accustomed to seeing the usual players in classic Italian cinema such as Loren, Mastroianni, Fellini, Magnani and De Sica with their big budget releases. Their films are beautiful and they are beloved symbols of a magical time in cinema. However, for a thorough look into the evolution of Italian cinema, one should also see the films of Carlo Verdone’s mentor, Sergio Leone, whose “Spaghetti Westerns” shot Clint Eastwood to international fame during the mid 60’s…not to mention his controversial epic, Once Upon A Time In America. The films of character actors, Alberto Sordi and Massimo Troisi embrace Verdone’s chosen genre of comedy where the middle class Italian man is hilariously overwhelmed with survival in contemporary life. The films are very indicative of Italy in the periods in which they were shot; the 60’s through the 80’s in particular. They offer insight into how the Italian culture and standard of living changed since the end of World War II, and also before the mass immigration when most of our ancestors left. Many of these films are available over the internet on sites such as Amazon.com, Milestonefilms.com and Netflix.com. Carlo Verdone’s latest film, L’amore e` Eterno Finche` Dura (Love Is Eternal While It Lasts), which will bring you full-circle after seeing the work of Leone, Sordi and Troisi, is waiting distribution in the United States. For more information about Carlo Verdone’s work, check out his official web site at www.carloverdone.com.
Thursday, May 22, 2008
Antonio De Curtis, Comedy and Tragedy
His birth name was Antonio De Curtis, but the world knows him best as Totò, the Neapolitan comedian whose distinctive face and nutty ways made him one of the most popular Italian film stars in history.
Totò was born on February 15, 1898 in Rione Sanità, a poor area of Naples. As a boy, he had a passion for sports and it’s believed that a nose injury caused by a football or in the boxing ring gave him his signature look that played a major role in the personality of his characters. In 1917, Totò started acting locally in Naples as an actor in the "comedia dell'arte" and wrote poetry in his dialect. In the early 1920’s, Totò headed to Rome. Upon his arrival, he enjoyed performing in big theatres working in "avanspettacolo", a vaudeville show that combined music, ballet and comedy. He mastered the genre and in the 30’s, founded his own company and took it on the road. Not long after, he took to the big screen and went on to appear in more than 100 films. Among his most acclaimed movies are I ladri, Totò e le donne, Totò e Cleopatra and Pier Paolo Pasolini’s Uccellacci ed uccellini.
Although Totò was at top of his career, his personal life was another story. Shortly after working in Roman theatres, he met a woman named Liliana Castagnola. The two lived together for some time. After he reportedly left to take a part up north, Castagnola committed suicide. A few years later, he met a woman, Diana Bandini Rodigliani with whom he had a daughter. He named the baby girl Liliana after the ill-fated Castagnola. He married Diana in 1934 or 1935 (various dates have been given), but the marriage ended in 1940 when he filed for divorce on the grounds of her infidelity. The two managed to live together for the sake of their daughter, but they were each free to have other relationships. Some years later, Totò met actress, Silvana Pampanini on the set of, "47 Morto Chi Parla." At the same time this new relationship was blooming, his live-in ex-wife Diana accepted a marriage proposal from a lawyer. Totò was hurt and wrote the song "Malafemmina" (the bad girl), which has been called “a declaration of love and hate to his first wife.”
Totò’s next and final relationship was with Franca Faldini. It was “amore a prima vista” or love at first sight in 1951 when he saw her photo on the cover of an Italian magazine. She was 21 and he was 53. They secretly wed in Switzerland in 1954 and later that year, Franca gave birth to their son Massenzio. It was a hard labor and Franca nearly lost her life. The couple’s son sadly died a few hours after being born. Totò of course was devastated and threw himself into his work. But in 1956, it caught up with him when he suffered a serious bout of bronchitis. That would mark the beginning of his brave and difficult battle with his health. Then on April 15, 1967, Totò passed away. He spoke his last words to his wife, Franca Faldini, who has been called the true love of his life. He said, "I've loved you very much Franca, very much."
Totò was born on February 15, 1898 in Rione Sanità, a poor area of Naples. As a boy, he had a passion for sports and it’s believed that a nose injury caused by a football or in the boxing ring gave him his signature look that played a major role in the personality of his characters. In 1917, Totò started acting locally in Naples as an actor in the "comedia dell'arte" and wrote poetry in his dialect. In the early 1920’s, Totò headed to Rome. Upon his arrival, he enjoyed performing in big theatres working in "avanspettacolo", a vaudeville show that combined music, ballet and comedy. He mastered the genre and in the 30’s, founded his own company and took it on the road. Not long after, he took to the big screen and went on to appear in more than 100 films. Among his most acclaimed movies are I ladri, Totò e le donne, Totò e Cleopatra and Pier Paolo Pasolini’s Uccellacci ed uccellini.
Although Totò was at top of his career, his personal life was another story. Shortly after working in Roman theatres, he met a woman named Liliana Castagnola. The two lived together for some time. After he reportedly left to take a part up north, Castagnola committed suicide. A few years later, he met a woman, Diana Bandini Rodigliani with whom he had a daughter. He named the baby girl Liliana after the ill-fated Castagnola. He married Diana in 1934 or 1935 (various dates have been given), but the marriage ended in 1940 when he filed for divorce on the grounds of her infidelity. The two managed to live together for the sake of their daughter, but they were each free to have other relationships. Some years later, Totò met actress, Silvana Pampanini on the set of, "47 Morto Chi Parla." At the same time this new relationship was blooming, his live-in ex-wife Diana accepted a marriage proposal from a lawyer. Totò was hurt and wrote the song "Malafemmina" (the bad girl), which has been called “a declaration of love and hate to his first wife.”
Totò’s next and final relationship was with Franca Faldini. It was “amore a prima vista” or love at first sight in 1951 when he saw her photo on the cover of an Italian magazine. She was 21 and he was 53. They secretly wed in Switzerland in 1954 and later that year, Franca gave birth to their son Massenzio. It was a hard labor and Franca nearly lost her life. The couple’s son sadly died a few hours after being born. Totò of course was devastated and threw himself into his work. But in 1956, it caught up with him when he suffered a serious bout of bronchitis. That would mark the beginning of his brave and difficult battle with his health. Then on April 15, 1967, Totò passed away. He spoke his last words to his wife, Franca Faldini, who has been called the true love of his life. He said, "I've loved you very much Franca, very much."
Wednesday, May 21, 2008
Through the Eyes of Michelangelo Antonioni
Nothing is what it seems. If one had to describe the films of Michelangelo Antonioni with one phrase, that would do it. Antonioni made a career out of mesmerizing audiences with his films of complicated relationships that raise questions, but leave many of the answers to the viewer.
Michelangelo Antonioni was born in Ferrara, located in the Italian region of Emilia Romagna in 1912. He attended college in nearby Bologna during the 1930’s where he became involved in theater and painting. After graduation, he freelanced as a film critic for a local newspaper. Shortly thereafter, he moved to Rome and tried to make a documentary at of all places, an insane asylum. The project fell through, but some have said that his experience in making that film would go on to influence future works, in particular, Tentato Suicidio in 1953.
Many great filmmakers begin their careers with documentaries, and the same can be said of Antonioni. His first completed film documented the lives of residents living in a region near Ferrara, Italy. The film, Gente del Po was released in 1947, and revealed Antonioni’s distinct style of filmmaking that has gone unparalleled in his time. The success of his documentaries paved the way for his feature length films. In 1950, Antonioni’s first feature film, Cronaca di Un Amore was released. The film is similar to film noir. However, the traditional plot recipe belonging to film noir was compromised in order to shift focus to the intense feeling of the characters. Antonioni is known for his complex, well developed characters who don’t always make morally sound choices.
His first widescreen film, L’Avventura was made in 1960 and has been referred to as his masterpiece. In L’Avventura, Antonioni tells the story of a missing person through the experiences of the people heading the search. Those people, the missing woman’s fiancé and best friend end up having their own affair together. That film along with his other works of that period, La Notte (1961), L’Eclisse (1962) and Il Deserto Rosso (1964) all share a consistent style, theme, social setting and plot. Those works brought his career to the level in which it has remained through the years. He is something of an international art house legend, a classic, golden age director with an unprecedented, ageless method to his filmmaking. His influence has long reached beyond the borders of Italy.
Despite the success of his films of the early 60’s, the world was just getting a taste of his talent and unique vision. One can say that Michelangelo Antonioni reinvented himself with the making of Blow Up for which he earned two Oscar nominations. The film tells the story of a disenfranchised fashion photographer. When he takes a photograph in a London Park, he realizes something mysterious in the background, setting the stage for the 1966 drama, which co-stars Vanessa Redgrave. To this day, the film stirs up conversation and draws criticism due to its vast room for interpretation. In addition to the Oscar nominations, Blow Up won the Golden Palm at the 1967 Cannes Film Festival as well as a nomination for Best English-Language Foreign Film at the 1967 Golden Globes.
Antonioni made films throughout the 70’s and 80’s that experimented with different lighting techniques and different ways to use the camera to add his signature style to each scene. He created several layers to his films with the way they were shot, the intensity of the characters’ personalities and the political backdrop of the subjects. The combination of his style of filmmaking and the mainstream market of the late 70’s clashed, forcing Antonioni to eventually give up some of his strong, alternative ways for a more commercial approach. The first product to emerge from that way of thinking was, Identificazione di Una Donna in 1982. It would be his last film until 1995.
Al di La` delle Nuvole was Antonioni’s comeback film, after he suffered a severe stroke and was unable to work for thirteen years. His comeback was welcomed among critics, even if the film got mix reviews. The project was co-directed with German filmmaker, Wim Wenders. The movie consists of four vignettes tied together by a story filmed by Wenders, who you may remember won an Oscar for his 1999 documentary, Buena Vista Social Club. The film’s ensemble cast includes John Malkovich, Vincent Perez, Jean Reno, Marcello Mastroianni and Jean Moreau… as well as a recognizable selection of pop music. Each story, as Antonioni himself says, invites the viewer to an inner travel “towards the true image of that absolute and mysterious reality that nobody will ever see.”
Michelangelo Antonioni never really managed to connect with mainstream audiences. He had his own way of telling and shooting a story. He saw things when he looked through the lens of a camera that you and I don’t see. It’s been said that one should see Antonioni’s films several times over to truly appreciate the way he tells a story through the visual medium.
Several of Michelangelo Antonioni’s films are available through Amazon.com.
Michelangelo Antonioni was born in Ferrara, located in the Italian region of Emilia Romagna in 1912. He attended college in nearby Bologna during the 1930’s where he became involved in theater and painting. After graduation, he freelanced as a film critic for a local newspaper. Shortly thereafter, he moved to Rome and tried to make a documentary at of all places, an insane asylum. The project fell through, but some have said that his experience in making that film would go on to influence future works, in particular, Tentato Suicidio in 1953.
Many great filmmakers begin their careers with documentaries, and the same can be said of Antonioni. His first completed film documented the lives of residents living in a region near Ferrara, Italy. The film, Gente del Po was released in 1947, and revealed Antonioni’s distinct style of filmmaking that has gone unparalleled in his time. The success of his documentaries paved the way for his feature length films. In 1950, Antonioni’s first feature film, Cronaca di Un Amore was released. The film is similar to film noir. However, the traditional plot recipe belonging to film noir was compromised in order to shift focus to the intense feeling of the characters. Antonioni is known for his complex, well developed characters who don’t always make morally sound choices.
His first widescreen film, L’Avventura was made in 1960 and has been referred to as his masterpiece. In L’Avventura, Antonioni tells the story of a missing person through the experiences of the people heading the search. Those people, the missing woman’s fiancé and best friend end up having their own affair together. That film along with his other works of that period, La Notte (1961), L’Eclisse (1962) and Il Deserto Rosso (1964) all share a consistent style, theme, social setting and plot. Those works brought his career to the level in which it has remained through the years. He is something of an international art house legend, a classic, golden age director with an unprecedented, ageless method to his filmmaking. His influence has long reached beyond the borders of Italy.
Despite the success of his films of the early 60’s, the world was just getting a taste of his talent and unique vision. One can say that Michelangelo Antonioni reinvented himself with the making of Blow Up for which he earned two Oscar nominations. The film tells the story of a disenfranchised fashion photographer. When he takes a photograph in a London Park, he realizes something mysterious in the background, setting the stage for the 1966 drama, which co-stars Vanessa Redgrave. To this day, the film stirs up conversation and draws criticism due to its vast room for interpretation. In addition to the Oscar nominations, Blow Up won the Golden Palm at the 1967 Cannes Film Festival as well as a nomination for Best English-Language Foreign Film at the 1967 Golden Globes.
Antonioni made films throughout the 70’s and 80’s that experimented with different lighting techniques and different ways to use the camera to add his signature style to each scene. He created several layers to his films with the way they were shot, the intensity of the characters’ personalities and the political backdrop of the subjects. The combination of his style of filmmaking and the mainstream market of the late 70’s clashed, forcing Antonioni to eventually give up some of his strong, alternative ways for a more commercial approach. The first product to emerge from that way of thinking was, Identificazione di Una Donna in 1982. It would be his last film until 1995.
Al di La` delle Nuvole was Antonioni’s comeback film, after he suffered a severe stroke and was unable to work for thirteen years. His comeback was welcomed among critics, even if the film got mix reviews. The project was co-directed with German filmmaker, Wim Wenders. The movie consists of four vignettes tied together by a story filmed by Wenders, who you may remember won an Oscar for his 1999 documentary, Buena Vista Social Club. The film’s ensemble cast includes John Malkovich, Vincent Perez, Jean Reno, Marcello Mastroianni and Jean Moreau… as well as a recognizable selection of pop music. Each story, as Antonioni himself says, invites the viewer to an inner travel “towards the true image of that absolute and mysterious reality that nobody will ever see.”
Michelangelo Antonioni never really managed to connect with mainstream audiences. He had his own way of telling and shooting a story. He saw things when he looked through the lens of a camera that you and I don’t see. It’s been said that one should see Antonioni’s films several times over to truly appreciate the way he tells a story through the visual medium.
Several of Michelangelo Antonioni’s films are available through Amazon.com.
Friday, November 16, 2007
A Conversation with Dom Deluise
He's a true Renaissance man. Dom Deluise has a list of film, television and stage credits that few could match. He's worked with the biggest names in the industry and also did the voices for cartoons such as "An American Tail" and "All Dogs Go To Heaven". He's been a guest on the shows of Merv Griffin, Carol Burnett, Jackie Gleason, Flip Wilson, Mike Douglas, Dean Martin and Johnny Carson. He's even roasted Frank Sinatra! However, his biggest passion lies within his books. I talked with Mr. DeLuise recently about his Italian heritage, visiting the land of his parents' origins and a friend of his named Burt.
What was your childhood like growing up in Brooklyn in the 30's and 40's?
The whole world was Italian. We lived across the street from a church and it was a part of our life, not just on Sundays. We weren't just Italian; all of our extra curricular activities were Italian, like celebrating the Feast of St. Anthony. There were a lot of stores. You could go to the store and see them making fresh mozzarella and there were rice balls on the counter. I lived in a neighborhood where the stores were specific.. there was a store to get fresh pasta, a few doors down, there was a bread store that had this bread with an amazing crust and then another store where you could buy fresh ricotta that was mild and delicious. My mother used to make lasagna with it. Not only did you have the opportunity to go to these stores, but you also were around the language. Everyone spoke Italian. My parents came from Italy, so they spoke Italian when they were in these stores.
Where in Italy were your parents from?
Spinoza, a town near Potenza (in the region of Basilicata).
Have you ever visited?
Yes, it's a wonderful, beautiful town with rolling hills. When I went there, I got to see where my parents were raised. We had lunch under an arch where grapes were hanging ready to be picked. We sat at a big table and ate a meal that started with a dish of potatoes, onions carrots and tomatoes, which was followed by a dish of pasta and then rabbit, a salad and then nuts. My mother still follwed this tradition and I used to tell her, now that she's in America, she has to serve everything on one plate!
How did your parents inspire your work?
My mother was a great cook. I wrote a book called, "Eat This", which was inspired by her. My father had a big Italian accent and he always had a great time talking about his Italian heritage. It was a great foundation to start from.
When did you realize that wanted to work in show business?
I loved being in plays at school. When I was in high school, I played Scrooge in "A Christmas Carol." At the end of the play, there was a big applause... people screamed and yelled, and I thought this is a great way to make a living!
What was your break?
I had a role in an Off-Broadway show called "Little Mary Sunshine." I made $37.50 a week. I was Corporal Billy Jester, which was a comic relief role. Then I was in other shows, Half Passed Wednesday and All in Love. In a review by the New York Times, I was called a comic genius. It was a big honor. Then Merv Griffin was the first person who requested an interview with me.
Tell me about your friendship with Burt Reynolds.
Well, I was a frequent guest on Johnny Carson. One time, I heard that Burt Reynolds was going to be a guest, so I did a pantomime of him with the theme of "2001" playing and ended up laying on Johnny Carson's desk. It was a lot of fun. The next day, I received a hand-written letter from Burt that read, "Please leave me alone" and we've been friends ever since! He's like a brother, very easy to be a friend.
And Mel Brooks? You've been in several of his movies.
I had an audition for "The Twelve Chairs." It lasted 4 1/2 hours. Mel said, if you get this part, we'll be friends for 25 years and if you don't get it, we'll be friends for 25 years! I got the role and then also worked with him on "Blazing Saddles", "Silent Movie" and "History of the World".
Do you have a favorite film that you've worked on?
Yes, I have two; "The End", directed by Burt Reynolds and also "The Best Little Whorehouse in Texas" with Dolly Parton and Burt.
Your sons are also actors. Did you encourage them?
No, not really! They were just naturals. Peter is also a director. Michael is an actor and has been on many shows including 'The Gilmore Girls" and "NYPD Blue". David had a role on the television show, "Third Rock from the Sun" and just completed a series that will air on the Disney channel called, "Wizards of Waverly Place". My wife thought that was funny because she used to live at Waverly Place in New York years ago!
I saw on your website that you also draw.
Yes, drawing has always been a passion of mine.
So you act, sing, draw and write. Do you have a favorite?
I really like writing children's books and cookbooks. In addition to my cookbooks, "Eat This" and "Eat This, Too," I wrote "Charlie the Caterpillar", "King Bob's New Clothes", "Nightingale", "Goldilocks", "Hansel and Gretel" (my version!), "The Pouch Potato", and "No Place Like Home."
What can we expect from you in the future?
Well, in addition to my weekly radio show, I am working on another book, which will be ready very soon.
You can find Dom DeLuise online at www.domdeluise.com. There, you will see his books, drawings, recipes and trivia. His books are also available for sale at www.atlasbooks.com.
What was your childhood like growing up in Brooklyn in the 30's and 40's?
The whole world was Italian. We lived across the street from a church and it was a part of our life, not just on Sundays. We weren't just Italian; all of our extra curricular activities were Italian, like celebrating the Feast of St. Anthony. There were a lot of stores. You could go to the store and see them making fresh mozzarella and there were rice balls on the counter. I lived in a neighborhood where the stores were specific.. there was a store to get fresh pasta, a few doors down, there was a bread store that had this bread with an amazing crust and then another store where you could buy fresh ricotta that was mild and delicious. My mother used to make lasagna with it. Not only did you have the opportunity to go to these stores, but you also were around the language. Everyone spoke Italian. My parents came from Italy, so they spoke Italian when they were in these stores.
Where in Italy were your parents from?
Spinoza, a town near Potenza (in the region of Basilicata).
Have you ever visited?
Yes, it's a wonderful, beautiful town with rolling hills. When I went there, I got to see where my parents were raised. We had lunch under an arch where grapes were hanging ready to be picked. We sat at a big table and ate a meal that started with a dish of potatoes, onions carrots and tomatoes, which was followed by a dish of pasta and then rabbit, a salad and then nuts. My mother still follwed this tradition and I used to tell her, now that she's in America, she has to serve everything on one plate!
How did your parents inspire your work?
My mother was a great cook. I wrote a book called, "Eat This", which was inspired by her. My father had a big Italian accent and he always had a great time talking about his Italian heritage. It was a great foundation to start from.
When did you realize that wanted to work in show business?
I loved being in plays at school. When I was in high school, I played Scrooge in "A Christmas Carol." At the end of the play, there was a big applause... people screamed and yelled, and I thought this is a great way to make a living!
What was your break?
I had a role in an Off-Broadway show called "Little Mary Sunshine." I made $37.50 a week. I was Corporal Billy Jester, which was a comic relief role. Then I was in other shows, Half Passed Wednesday and All in Love. In a review by the New York Times, I was called a comic genius. It was a big honor. Then Merv Griffin was the first person who requested an interview with me.
Tell me about your friendship with Burt Reynolds.
Well, I was a frequent guest on Johnny Carson. One time, I heard that Burt Reynolds was going to be a guest, so I did a pantomime of him with the theme of "2001" playing and ended up laying on Johnny Carson's desk. It was a lot of fun. The next day, I received a hand-written letter from Burt that read, "Please leave me alone" and we've been friends ever since! He's like a brother, very easy to be a friend.
And Mel Brooks? You've been in several of his movies.
I had an audition for "The Twelve Chairs." It lasted 4 1/2 hours. Mel said, if you get this part, we'll be friends for 25 years and if you don't get it, we'll be friends for 25 years! I got the role and then also worked with him on "Blazing Saddles", "Silent Movie" and "History of the World".
Do you have a favorite film that you've worked on?
Yes, I have two; "The End", directed by Burt Reynolds and also "The Best Little Whorehouse in Texas" with Dolly Parton and Burt.
Your sons are also actors. Did you encourage them?
No, not really! They were just naturals. Peter is also a director. Michael is an actor and has been on many shows including 'The Gilmore Girls" and "NYPD Blue". David had a role on the television show, "Third Rock from the Sun" and just completed a series that will air on the Disney channel called, "Wizards of Waverly Place". My wife thought that was funny because she used to live at Waverly Place in New York years ago!
I saw on your website that you also draw.
Yes, drawing has always been a passion of mine.
So you act, sing, draw and write. Do you have a favorite?
I really like writing children's books and cookbooks. In addition to my cookbooks, "Eat This" and "Eat This, Too," I wrote "Charlie the Caterpillar", "King Bob's New Clothes", "Nightingale", "Goldilocks", "Hansel and Gretel" (my version!), "The Pouch Potato", and "No Place Like Home."
What can we expect from you in the future?
Well, in addition to my weekly radio show, I am working on another book, which will be ready very soon.
You can find Dom DeLuise online at www.domdeluise.com. There, you will see his books, drawings, recipes and trivia. His books are also available for sale at www.atlasbooks.com.
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