ITV_MARCO_GENTILI

THE INTERVIEW

April, 2025

MARCO GENTILI

DIRECTORS OF AURUM

BEST SCI-FI

Marco, tell us a bit more about yourself. Where does your desire to be a director come from?

My desire to become a director was born rather late, compared to the love I always had for cinema. Let’s say I watch all kinds of movies since I can remember. As a child, if there was something I wanted to receive for Christmas or birthday, that was a new movie. Growing, there was no week without going to cinema, sometimes even forcing my friends, who got tired of my obsession (and I understand them). But the desire to become a director was born almost for fun, after going through a bad depression at the age of 19. When I came out of this period, I knew what I wanted to do with my life: movies! Later, after challenging years, it became my full-time job.

What is your background?

I started working as a director of documentaries for a television channel, but I felt oppressed from a creative point of view. Later, I quit because I wanted to change and choose a more difficult path, but which would give me more space for creativity. Making movies in Italy is certainly not easy, but this didn’t make me desist; indeed, challenges always give me a special charge, difficult to explain by words.

What were your reference for Aurum?

“Aurum” is a tribute to the cinema I love and, above all, to my land, Romagna. I took inspiration from cinema of the 30s and 40s (an example is “Snow White and the seven dwarfs” by Walt Disney), but also from the most recent cinema. I am a huge fan of Christopher Nolan (in “Aurum” there is a great quote to one of his movies) and his works had a huge influence on me. About Romagna, I think there is no better thing for a director and screenwriter than to pay tribute to his land of origin, through the stories and characters that portray it deeply; with “Aurum”, I wanted to do exactly this. The names of the characters, the Fortress of San Leo (the true place of Cagliostro’s death) and all satellite stories going around the main story, come from my beloved Romagna.

Marco, you won Best SCI-FI at the RED Movie Awards, what does that mean to you?

My greatest satisfaction was to achieve this important milestone together with those who became my brothers and sisters, during the production process, starting from the members of 301 Filmont (Letizia Fabbri, Camilla Rabitti, Alessandro Canini and Federico Colicchio), until all the actors (Aurora Emanuele, Elena Rossetto, Mattia Santolini and Gabriele Vincis), the composer Christian Di Benedetto, the professionals, the guys from Arkadia Studios, all the creatives who followed the production until the realization of the short movie. Cinema is a collective art form, that’s way if people are not satisfied, it makes no sense to celebrate. This important milestone represents a hope for all those who, like me, love science fiction and fantasy movies.

Your film explores the fascinating idea of a sect bringing Cagliostro’s legendary elixir to
life. Can you tell us more about the rivalry between the brothers and what’s at stake for the
one who ultimately receives the elixir?

The hidden rivalry between the confreres of the sect, is the pivot on which protagonist bases his strategy to get to the end. Basically, the sect is looking for a scapegoat, for a puppet to be commanded; however, although human beings can be corrupt, not everyone can play this game. Who will receive the elixir may live the rest of his life covered in gold, but with more than one burden on his shoulders, burdens that no one in this world could bear.

We also notice a rather marked homage to film noir, explain this choice of aesthetic to us.

I believe there is no more elegant and refined form of film noir. I still remember the first time I watched “Psycho”: I was struck by those images. When I had the possibility to shoot “Aurum”, I had no doubts about the final staging: black and white! A contemporary film that really hit the mark, using black and white as an aesthetic component, was “The Lighthouse” by Robert Eggers: still today, when I watch it, I can’t get my eyes off the screen.

What was the biggest challenge in this shooting?

When we started the pre-production of Aurum, we already knew what we wanted do: to pay tribute to the cinema of the ’20s, ’30s and ’40s. So, we began to conceive the idea the stylistic and staging should also be typical of those decades. I remember spending whole evenings with the Director of Photography, my friend Matteo Cucci from Arkadia Studios, looking for references to send to all departments. In fact, every department faced enormous challenges; however, looking at the result, I would say that every obstacle has been overcome.

Do you have an anecdote to share with us in particular?

The biggest challenge was to get mentally into the productive mood. It is absurd today to have to play a 1920s film production; to shoot with those stylings was really exhausting, both technically and narratively. But, if I went back, I would do everything exactly as it was!

What is your next project?

With my production company, 301 Filmont, I am carrying out several projects, including my first feature film. My partners and I are excited about this and can’t wait to get in the game!