Alexis Petridis’ interview with Andrew Dominik

In 2015 Nick Cave’s son died in an accident, and a year after he is quite able to deal with it through a documentary, One More Time With Feeling, directed by Andrew Dominik. The film was an expedient in Cave’s mind to avoid doing press for the release of the new album, Skeleton Tree, (which he was recording right during his family’s tragedy) and to avoid the journalists question about his loss. They’re just some pieces of information you can get from Dominik’s interview appeared on The Guardian last month, where he admits that the Australian music icon hated one third of the movie after the first screening:


“Nick was very concerned about certain things. Does the film exploit the situation? Does the film somehow diminish the situation? So they came in and they sat and watched it, and it was fucking terrifying, just imagining how they would react to it. And they came out, and Nick was happy, but he didn’t like the last third of the movie; he hated all the interview stuff, he didn’t think it was moving, he thought it was just some guy waffling. And Susie hated all the stuff with her. But Susie liked Nick and Nick liked Susie, right? So they decided to show it to Warren [Ellis, Cave’s main musical foil in the Bad Seeds], and he said: ‘No, you’re both wrong, it’s all good.’” Eventually, Cave decided to relinquish authorial control over the film. “He decided he couldn’t, if I was going to have to go out and take responsibility for it. I mean, the whole idea of making the movie was so that he didn’t have to answer questions like these ones again; so I had to ask them, and therefore he let me release the film that I wanted to release.”

The documentary was a very though job for Dominick, who’s first of all a very special friend of Cave and was a part of “the basic rallying round” for him and his family after Arthur’s death. But he succeeded, making a movie that is more elegant and painful than pathetic.

The Guardian

Nick Cave documentary director Andrew Dominik: ‘He hated a third of my movie’, by Alexis Petridis.


Enrico Franceschini’s interview with Francis Morris

When we saw the portrait of Francis Morris, standing in front of “one of Luciano Fabro’s feet”, we couldn’t help choosing the queen of Tate Modern. Moreover, she was the curator of the amazing exhibitions at Tate dedicated to Louise Bourgeois e Yayoi Kusama. Thank to the interview we discover that in 2016 Morris was nominated as new director of that dreamy place in London that is the Tate Modern.


«Lavoro alla Tate da due decenni e sono il primo direttore che viene dall’interno», dice seduta a un tavolo tondo e sgombro, con bicchiere e caraffa d’acqua davanti. «I cambiamenti hanno dei vantaggi, ma i miei predecessori hanno impiegato tempo a comprendere questo posto: io lo conosco come le mie tasche». Aveva mai pensato di ritrovarsi a dirigerlo? «Ci avevo fatto un pensierino. Ma forse non mi sentivo pronta, forse avrei dovuto candidarmi prima. Ci sono arrivata ora, a 58 anni, al momento giusto per me e per la Tate, avendo accumulato l’esperienza necessaria per impostarne l’espansione, con tutto quello che significa».

Her words about the surprise and greetings from really a lot of people for her nominee -as a woman- to guide the prestigious museum stroke us, in the same way as her statement about success and money, that aren’t everything.

And to the critics coming from the New Yorker about the enlargement of the museum, she promptly answered  with Proust e Woody Allen: could we like her more?

D di Repubblica

Tête à Tate, By Enrico Franceschini


Tommaso Koch’s interview with Nicola Piovani

An interview starting with a funny anecdote on how Nicola Piovani, the famous Italian composer scrupulously safeguards his Oscar – because there are Oscars thieves!- can only be part of your favourite ones.


“Nicola Piovani tiene un oscar, pero nunca lo ve. El hombre dorado podría dar un brillo único a su salón. Sin embargo, yace en una celda de aislamiento. “Me contaron que hay ladrones de oscars. Así que lo guardo en una caja fuerte”, relata el compositor, que obtuvo el galardón en 1999, por la banda sonora de La vida es bella. Su estatuilla sale rara vez del escondite. Para una muestra, un evento benéfico o un rodaje: en la comedia Boris, un Piovani ya sin fichas apostaba el premio en una mesa de póquer. Pero, aunque lo pierda contra cuatro reyes o lo aleje hasta de sus propios ojos, el galardón nunca le va a dejar.”

And if you add that you can also read between the lines a not-very-disguised disappointment for the Oscar won by Sorrentino, we definitively enjoy this entertaining interview, whether it’s thanks to the journalist or to the extraordinary humor of Piovani.

El País

Un librepensador ante el piano, by Tommaso Koch.nicola-piovani

Jeffrey Eugenides’ interview with Zadie Smith

It isn’t unusual that, after a new has been released and during the media campaign, you always meet the same face in your daily press review. It is a fact that in the last months not seeing around Zadie Smith was pretty much impossible. So I bought the New York Times T Magazine and I finally read an interview with her. And after a great hue and cry, one of the first thing she says definitively makes us feeling human, like her:


“It did seem to me, when I was a kid and also now that I’m a grown-up writer, that a lot of male writers have a certainty that I’ve never been able to have. I kept on thinking I would grow into it, but I’m never sure I’m doing the right thing”.

Ok, if even the super amazing wonderful worldwide renowned novelist Zadie Smith never feels like she’s doing the right thing, we can surely have a peaceful sleep!

As for me, I definitively made peace with her unintended glamorous and cutting edge image, and I’ll buy and read her latest novel, Swing time, as soon as will be translated, trying to avoid any possible spoiler about it considering they’re already preparing an adaptation for the cinema!

T Magazine

The Pieces of Zadie Smith, by Jeffrey Eugenides.


Enrico Ratto’s interview with Nino Migliori

Enrico Ratto doing an interview is already a certainty, but in the case of this chat with Nino Migliori, the result is a whole discovery. Wise words, full of experience follow one another on issues such as the means, the human figure, the beauty:

“Il bello è una categoria che cambia nel tempo, quindi non è assoluto. Le belle donne di Rubens sono giunoniche e cellulitiche, lontane dall’idea di bellezza femminile che abbiamo oggi, ma questo ovviamente non toglie nulla alla grandezza di Rubens come pittore, è solo per esemplificare il concetto. Chi insegue il bello fine a se stesso non può che replicare con minime variazioni un modello e questa è una cosa che mi annoia, perché, come già dicevo, quello che mi affascina è il progetto cioè la capacità di raccontare. E se vuoi scrivere racconti diversi non puoi proporre sempre lo stesso stilema.”

There is always something to learn from a great artist, and especially to learn about the meaning of his work: in most cases we have to admit that artists are not able to talk about their work, but this is certainly not one of them.

Maledetti Fotografi

Nino Migliori: scattiamo una fotografia quando incontriamo e riconosciamo noi stessi, by Enrico Ratto.