Reading the cinema with the gaze of criticism — Interview with Alberto Castellano

How did you get to the world of the CINEMA TANTO to become PROTAGONISTA with its TANTI SAGGI and with its TANTE RECENSIONS? How did you get your own transcript into the world of duplicity and CINEMATOGRAPHICAL CRITICA?

Castellano: PROTAGONISTA SEMBRA A TROPPA PARLIAMENT. I'm sure I'm a CINEMATOGRAPHIC, who's got this kind of thing, and what's wrong with her, why don't you? You're going to get a little bit of a deal. This is an immeasurable thing I was going to do.

I was a little bit anonymous; in REALITY, by JOHN, THE UNIVERSITY, A LAUREA PO’ TRAVAGLIATA, I don’t think I was going to make any plans for what I had decided to do with the POLITICAL STRUCTURES. POI MENTARY TO THIS, IN REALITY YES, HOW WE CAN DIRE, THE “VIRUS” OF THE CINEMA, WHY DISE A MALACY, ALSO POSITIVO OR PATOLOGICAL.

This is the last of my own, which, in my opinion, is the only way for my self-confidence and the years of the CRESCEVAN UNIVERSITY for the CINEMA, and not only because of the TEATRO and the CULTURAL VARI EVENTS, VIA VIA VIA is the only way for a CRIENDO. I have introduced as a PASSIONE, first I have the VARI “CINEMA-CLUB”, I have to start to see the FUNDAMENTAL FILMS; THE RELAX, THE SCOPERT OF THE AMERICAN CINEMA AND THE CINEMA OF ORIGIN AND, INSOMMA, I have introduced the PURNITURES

I'm so sorry, I'm so sorry. I'm not in the middle of the crime scene.

_

I'm so sorry to hear a word, and I'm beginning to think about the PRACTICAL FAMOSA DI PUBLICISTA, to tell you what the MINIMOUM OF ARTICLES to have the PUBLICIST TESSERINO FAMOSO.

_ SPECIAL TO MAKE THE CINEMATOGRAPHIC CRITIC, THE "MATTINO" It was the MASSIMO that could have been sent to the moment.

I've got a lot of money.

I've done CRONACA TANTAGE FROM CINEMATOGRAPHIC DAYLIST; I'm sorry, I'm sorry, I'm sorry, "MATTINO" AND OTHERS, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry, I'm sorry.

First of all, it is a surprise, as you know, to say, that there was a need for a precaution on the CINEMATE CRONA, to take the precautions, to take the precautions. THE INFORMATION, THE CRONACA AND THE CRITICA VERA AND PROPRIA.

I've agreed, for a car accident, to be able to make a mistake, in the same year, on all other CINEMATOGRAPHIC REVIEW, to make out of the SAGGI and to make out of the LIBRI, as in the 1980s, I've got a call for the LIBRI, as in "DOUGLAS SIRK

I've got a lot more to do, and I've got a lot more to do, and I've got a lot to do with it, and I've got a lot to do with it. It'll be my libel that I'm not sure “The CINEMA OF OGGI: A REFLESSION”, WHO CONTINUES DECIDES ON WHAT IS THE OGGI CINEMA, FROM THE POLICY OF THE PUBLIC, CRITICA, CONSUM AND DISPOSITION, THE END OF CINEMATOGRAPHIC HEALTH as CENTRALITY

THE CINEMA, HOW WE KNOW, BETWEEN THE END OF THE OCENT AND THE FIRST INIZES OF NOVECENTO WITH THE FRATELLI LUMIERE. OPI HAS ADOPTED A GREAT SUCCESS WITH MUSICAL, FILM OF FANTASCIENZA, FILM WESTERN, CINEMA MODERNO, ED The ART SETTIMA, THE SETTIMA PART OF THE ARTISTICLE WORLD AND IS THE AGGREGED OF VISIVE ARTS. _ I'm going to get her. Do I want to know what is the ELEMENT that has identified more or less of the CINEMA?

Castellano: But when you look at the product, it's like you're doing a lot or you're doing a little bit of the same thing. SCENEGGING OF A FILM, FROM THE STylistic ASPETTO, LINGUISTICO OF A FILM OR OF THE REGIA IN SHE.

I'm going to go, I'm going to try to get you out of here. SCENEGGIA, THE REGIA AND WHICH VICEVERSA OR IS A FILM HAS A STRUCTURE OF THE REGIA RIESCE TO COMPENSARE.

THE CINEMA IS A WORK LUNGO WHERE THE REGIST WHEN WHAT IS GERARCHICAL HOW TO GET A FILM DI?... DIRECT FROM?... There is A GERARK, But in the end it is a CULLETIVE OPERA.

_ ELEMENTS AND POI is the UAE OF FILM EVERYTHING AND SCRIVES IN ANY CASI; OR THE SCENEGGIATORS WHEN THE DRAMMAURGICAL STRUCTURE.

THIS IN JANUARY IS THE COMPONENT WHICH (REGIA AND SCENEGGIATURE) THE COMPREENSIBLE CRITICS IS MORE

What did you say and what did you not have the HOLLYWOODIAN CINEMA from the ENGLISH?

Castellano: “It is DEFICIAL to do so. IN GENERE NO PO’ DI SCUOLA AMERICANOFELA We are trained, as they were “AMERICAN CINEMA”, It is AROUND TO FIND QUALCHES THAT THEY POSSIBLE INVIDIAR us. As we know, we have been echoing the echoes for the aMERICA, the years of the pride of our place are united with the NEOREALISMO, with FELLINI, ANTONIONI, DE SICA, VISCONTI, ROSELLINI, PASOLINI, CIO I LOVE THE FELLINIS OF THE AUTHORIES

But let us say that, as we say, HOLLYWOOD and AMERICAN CINEMA, in JUST, he has a PRErogance that, as we say, I do not know what the CINEMA in what manner they have invented it and they have made it cry. I have to say that it was not the case of making the ENGLISH CINEMA, that it was the case of the ENGLISH, that it was the case that it was the last time that I had to do it. A PO’ MOLTO FORTI.

I'm sorry, I'm sorry. I'm sorry. I would like to express my appreciation of the vultures of HOLLYWOOD, with their answers, because, in AMERICA, they are a little bit of ardent;

_ THE ITALIAN TURN ATTRICE CAN TURN YOU;

INSOMMA, IT IS NOT FACILE, TANTO IS VERY THAT YOU CAN NOT HAVE THIS THANKS OR THANKS, BUT THE SPORADIC CASES WHERE THEY REALLY TO HAVE HAD WE WANTED.

_ If you are able to comply with the rules, but there have been some utterly unjustified AMERICAN INDEPENDENTS, MULITURES that have been required to reconvene, GIRARE, DESCRIVER OF SITUATIONS with an OCCHIO TO THE EUROPEAN CINEMA:

To the ACADEMY STO STUDIANDO THE TEATROLOGY AND CINEMA FORMS. We know all that is the birthplace and the teapot is on the history. If you don't make history, you don't make a good FILM and a good TEATRALE SPECTACLE. We're going to look at the most beautiful FILM I've seen: "FORREST GUMP" by R. ZEMECKIS. We KNOW ALL THE HISTORY, THIS RAGAZZO, FORREST, SPECIAL THAT HAS ADOPTED HIS DISABILITY IN EGREGGIO DIVENTANDO A EXAMPLE FOR ALL. How can the LIBRIS be IMPORTANT in the world of the CINEMA? How could we have had a history of history?

Castellano: I'm sorry. I'm sorry. OVVERY SCENEGGIATURE, WITH ALL INDICATIONS, AMERICAN OR EUROPEAN; WHEN WE are CASES WHERE THE FUNTS OF INSPIRATIONS THERE ARE OF THE ROUNDS, OF THE RECCONS OR THE TEATRAL PIECES.

CE NE SONO A BEL PÒ, Let's say that the AMERICAN PREVALENTLY WHEN A CINEMA MORE TO GENERE is more likely to be a LETTERATURE ( FOR ES.

I'm sorry, I'm sorry. I'm sorry. History;

_ CONSUMPTION WHY YOU WANT TO BE COSA DEVELOPMENTS;

We're talking about HORROR, FANTASY, THRILLER, WHEN THIS IS A DIFFERENCE. ANNOUNCEMENTS WE WARNED TO THE LETTERATURE, AS FROM “CRONACHES OF POVERI AMANTI” TO ” THE RAGAZZA DI BUBE”, A ” DESERT OF TARTARI”, ABBIAMO TANTI FILM IMPORTANT WHO HAVE ACQUISIT FROM THE ROS OF IMPORTANT AUTORS.

_ COLOSSAL, FOR MITLEGICALS, FOR WESTERN, ANZONO SOGGETTI FATTI PROPRIO FROM MESTIERI GROUPS

THE NEOREALISMO, we know all about it, between the INITIES of the second WORLD WORLD WORLD THE DOPOGURERRA and is the most IMPORTANT SCHOOL that has made the INTERNATIONAL CINEMA an IMPORTANT ELEMENT. I would like to say that I am not sure who the great MAESTRIES who have made the history of the world-wide ITALIAN CINEMA: DE SICA, ANTONIONI, FELLINI, TAVIANI, ROSSELLINI, GASMAN, CREDO THAT THE ITALIAN CINEMA IS ANTONIONI, FELLINI, TAVIANI, ROSSELLINI, GASMAN. What do you think?

Castellano: I've been trying to find out what they're doing in the world. I am so impressed and I have the same way as the Italian woman, who has made a difference; what is a choice that we have invented, what we have done is that we have to say that there is no such thing as to say that there is no such thing as to say that there is no such thing as to say that there is no such thing as to say that it is not the same. IN THE POST OF THE NEOREALISMO OF THE CINQUANTA YEARS, SEE BEPPE DE SANTIS, SEE PIETRO GEMMI.

A CERTO PUNTO L'ATTENZIONE GIUSTA e GIUSTIFCATA FOR THE NEOREALISMO has CREATED FOR IDEOLOGICAL EQUIPMENTS FOR WHICH OF THIS AUTORICY A PO' DIMENTICATI. Because the EXPLOIT, THE MANIFEST OF NEOREALISM AUTHORITY SONO ROSSELLINI AND DE SICA.

_ We have been able to use our own resources to help us to improve the quality of our products and the quality of our products.

THE FOUNDATION IS THE SCIENCE IN THE SUONS OF THE TECHNOLOGICAL WORKS IN THE TECHNOLOGYS; MENTRE, THE FONOLOGY IS THE SCIENCE OF THE ANALYSIS GRAMMATICAL OF THE FOODS. To make up for our own voices, we must be part of the FONATORIO or RESPIRATORIO OPPARATO. My question is this; what is IMPORTANT THE FOUND IN THE WORLD OF THE DOPPIAGGIO? What's wrong with him?

Castellano: It's just because you've got a lot to do with this, because you've got a lot to do with it, you know, you've got a lot to do with it. _

I'll tell you that we're talking about a MAGAZINE MAGAZY I CAN'T REPROVELY FOR WHEN THAT MOMENT, THAT VOCE, WHO, THAT EPOCA, IMPROVE THE VOICE, IMPROVE THE VOCE ORIGINAL.

Is there any difference between the FEMBER MASK, nor is there any difference?

Castellano: _ DEALOGHISTS ( CORRECTIONS OF THE ERROURS OF LABIALE, OF THE COURRISPONDENCE, OF THE FACT YOU DE CHANGE THE WORDS), WHY IMPORTANT TO RETITUTE THE SENTRE

How do you see the FUTURE of the World of CINEMA and the OGGI DOUBLE?

Castellano: I have not been a CATASTROFIST OF CINEMATROGRAPHIC VIEW POINT FOR WHAT I REQUEST. WHEN YOU DO A DISCORSE OF PUBLIC ONLY THE DATES WHICH PARLANE.

_ PRODURRE, AND WHAT IN THE ULTIME YEARS THE FILM PROVENGED BY THE CINE AND GIAPPONE, THE CINEMA BOLLYWDIOOANO QUELLO INDIANO, CINEMA EMERGENTE, CINEMA MINORE THAT THE POI AM FILM WHO HAVE CONQUIRE THE FEST.

_