Inspiration comes from art, a visit to museums is the first step for each new job and so Massimo Cantini Parrini, passionate and talented costume designer, has become one of our international names in the wake of an Italian tradition that wants the whole sector artistic technician of cinema a worldwide excellence, from the sets of Ferretti to the costumes of Pescucci and Canonero. Today there is a new generation that has appeared on the sets: Cantini Parrini, a 40-year-old Florentine, is in his second Oscar nomination, in a row, and the tricolor on the night of March 27 is also his shirt. We owe him the costumes of the musical Cyrano, the film by Joe Wright, which draws inspiration from the theatrical text for a new version with Peter Dinklage (Game of Thrones) and Haley Bennett, his unreachable love, Rossana. An MGM and Working Title Films production, in Italian cinemas from March 3 distributed by Eagle Pictures.
“The nomination was a wonderful surprise, it’s the most important award, but the satisfaction was already at the start when an American Studio, Mgm, called me for the first time. Working with this mega production – he says in an interview with ‘ANSA Cantini Parrini – it was exciting: more than 700 costumes were made and if we assume that we were in quarantine and even getting the fabrics to arrive was a feat, you can understand why everyone’s effort was at its maximum. different way of working, as you know, we are used to doing everything with just a few people but this training is exactly what gives us an edge abroad, because our ability to adapt is unmatched”. From the Experimental Cinematography Center (“it’s an excellent school, I recommend it to anyone who wants to do this job”) to work with the masters of costume: “I come from the school of Piero Tosi, I carry forward that philological language that avoids technology, starts from historical research, from visiting museums which for me is essential even for contemporary projects and then I get inspired by the ancient, I never miss an exhibition and when I start a new film – Cantini Parrini explains his journey – I go alone to those three or four fundamental museums for that story. My favorite regardless? The National Gallery of Modern Art in Rome, I love the 1800s and the early 1900s, I go all the time and it’s a thrill every time”.
Massimo Cantini Parrini considers himself lucky: “I’ve already done a lot of costume films and it’s a rarity, because in Italy few are made and because they are more expensive productions”, comments the costume designer who has given his touch to Nicchiarelli’s Miss Marx, to Garrone’s Dogman, to the D’Innocenzo films such as Favolacce and America Latina to name just a few. “Contemporary is more difficult, personal tastes come in, everyone feels like intervening as if making those costumes were like going to Zara”. Love at first sight “was Room with a view, I saw it as a teenager, I already collected antique clothes, now I’ve come to exceed 4000 clothes, it was my path”. First of all he advises a young man to prepare himself “even on his own, history of costume, history of art and then try the Experimental Center or the schools of excellence like in London, they – he says – have never abandoned the period film maybe it’s their conservative DNA.” Together with Cyrano he also worked on the eagerly awaited new film by Emanuele Crialese, L’immensità with Penelope Cruz, a challenge on the ’70s: “They won’t be carnival dresses as we often see, they will be more bourgeois period costumes”. He has already created the costumes for Chiara, the film by Susanna Nicchiarelli on the saint of Assisi, played by Margherita Mazzucco, the Lenù of the brilliant friend currently broadcast on Rai1 and in these days he is preparing those for the new film by Roberta Torre and then he will work on those of the D’Innocenzo brothers’ series for Sky. All Italian projects? “In April an international production, currently top secret”.