Interview with “SYPARIO” filmmaking team

SYPARIO, 24min., Italy, Musical
Directed by Fabio Selvafiorita
Sypario is a film based on the music score of Sypario by Sylvano Bussotti.
The Sypario’s score and the mise en scene on film realized by Fabio Selvafiorita consist of 15 micro-operas.


Get to know the filmmaking team:
Fabio director, musician
Elena Càsoli,musician, performer
Rocco Quaglia, assistant director, dancer

1. What motivated you to make this film?

Fabio Selvafiorita:The motivation has been the possibility of giving a different form, not ordinary like the audiovisual one, to that of a piece of music interpretation on CD or in the classic concert form. The music video is a form that has been consolidated for decades in the field of pop music, but it is not in the contemporary classical music.

Then the esteem for the interpreter and the composer.

Elena Càsoli: I have got the score from Sylvano Bussotti, with whom I had many occasions along the years to collaborate and perform. As an interpreter I love his music and I always think to it as a theatrical situation.

So I wanted to give to Sypario a new theatre with the sound of my instruments.

Rocco Quaglia:Bussotti’s works are always open to various possibilities, cinema being one of these.

2. From the idea to the finished product, how long did it take for you to make this film?

F.S.:The pre-production phase was certainly the most complex because it required the study of each part of Bussotti’s Sypario, the choreography, the costumes and the location choice and finally how to translate all this through the audiovisual language: shots, lenses, camera movements. One year of work.

E.C.:a long process, three years, to find for each scene an instrument, a sound, a scenery, a performative idea, an interpretation. Then with Fabio Selvafiorita working on the video concept. Then with Rocco Quaglia, who has been dancer at Teatro alla Scala and main interpreter of many Bussotti’s works, selecting the theatre costumes designed by Sylvano Bussotti and studying the choreography. Then thanks to Piero Colaprico, artistic director, having had the possibility to realize it at Teatro Gerolamo in Milan, a perfect location for Sylvano’s music.
R.Q.:we worked together, each with their own skills and experience, combining them for the common project

3. How would you describe your film in two words!?

F.S.:Two words in apparent contradiction: baroque and minimal

E.C.:15 micro-operas

4. What was the biggest obstacle you faced in completing this film?

F.S.:The main difficulty has been not to ecced with visual effects, but focus on the beauty of music and the effort to find for it the right breath.

E.C.:To find the best meeting point in between performative freedom and fidelity to the musical score.

R.Q.:we relied on Fabio’s expertise and experience.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

E.C.:I have got a very positive feeling. The audience seemed to feel in contact and confortable with these experimental languages -in the music, in my playing, in the style of the video-.

Sylvano Bussotti’s music has the ability to “talk” to the audience and the film reached them.

6. When did you realize that you wanted to make films?

F.S.:My father worked in the audiovisual sector and I think I can say that I have always done this job.

E.C:I believe that the experimental music performance needs to be wahtched not just listened,

I believe in acting the music. That’s the reason I wanted to realize this film.

7. What film have you seen the most in your life?

F.S.:Difficult if not impossible to answer. There are classic directors to whose filmography I often return: Lars Von Trier, Steven Spielberg, Jean Luc Godard, David Cronenberg, John Carpenter, John Cassavetes.

E.C.:Wim Wenders’ Der Himmel über Berlin.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

E.C.:I think you are doing a very good job for our films, respectful and careful with our work, with good strategies to promote and let these films be well-known as much as possible. My wish is that you can continue to put in contact experimental music videos with an international audience that likes looks for these new languages.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

E.C.: a very good experience, well organized, easy to use and to upload informations and videos, with a worldwide list of festival and constant detailed infos about them.

10. What is your favorite meal?

F.S.:Ziti al ragù napoletano.

E.C.:Pasta con le vongole

11. What is next for you? A new film?

F.S.:There are many things in the project that I hope to be able to start as soon as possible. Among these is the production of a documentary film shot in multi-format, both film and digital.

E.C.:I’m working on a composition titled “Amadou”, based on a dramatic social event, in which I also have to cut one after the other my guitar strings. The author is the Italian composer Luciano Chessa, who lives in U.S.

I already performed it live, but I believe it can be be a very strong music video.


By matthewtoffolo

Filmmaker and sports fan. CEO of the WILDsound Film and Writing Festival

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