At the 80th edition of the Venice International Film Festival, the merit awards are already beginning to arrive and one of the first to be awarded is that of the artist from Livorno Dalia Colli, for the makeup of the film in competition “Io Capitan” By Matteo Garron.
Dalia Colli, born in 1976, recently received a special award organized by the Cinearti International Award “La Chioma di Berenice” and promoted by the Cna, the National Confederation of Trades, reserved for film workers (with her she also received the prize for the young actress Benedetta Porcaroli).
The award joins the prestigious statuettes already won by the Livorno-based make-up artist, including three David di Donatello awards for three works by Matteo Garrone (in 2013 for “Reality”, in 2019 for “Dogman” and in 2020 for “Pinocchio “). “) and a European Film Award (again for “Dogman”). Colli, along with Mark Coulier (prosthetic makeup) and Francesco Pegoretti (hairstyling), was nominated for the Oscar 2021 “Best Makeup and Hairstyling” for “Pinocchio” (with them, also in Los Angeles, with a second nomination, Massimo Cantini Parrini for best costumes).
It is not a small curiosity, in David di Donatello 2020, Dalia Colli competed against herself because she was also nominated for “The traitor” by Marco Bellocchio (where Pierfrancesco Favino thanks to makeup becomes the repentant of Mafia Buscetta).
Among the more than 35 films in which Dalia Colli has worked in her twenty-year career, we also highlight “Casanova” (by Lasse Hallstrom with Heath Ledger), “Gomorrah”, “I’ll stop whenever I want” and “The name of the son” . Dalia, you won an award for “Io Capitano.”
What can you tell us about this important film?
“It’s a beautiful movie. It has great pacing and a very powerful story. It shows the true human side of ‘hope journeys’ like perhaps no movie has ever done before. Filming it was no picnic though. From my department, There were only two of us. It was not easy to find the materials in Senegal (many times we were blocked by tricks at customs). Then, many actors, many extras, many special effects (including makeup), adverse environmental conditions, especially in the desert; documentary style, two and a half months of filming between Senegal, Morocco and Sicily» «It was a real adventure – continues Dalia – In practice, what the protagonists feel we have experienced – in part and with due proportions – we too on our skin.”
After so many films and so many awards you’ve won, how do you choose your projects?
Let’s say I “try” to choose; sometimes it is possible, sometimes not. I like that the film that I am going to make is interesting, artistic, poetic and visually. I need the work I focus on to be challenging for me. If it becomes routine there is a risk that the work will become monotonous. Matteo Garrone’s films are always stimulating. As well as those of the Masters, such as Bellocchio or Ermanno Olmi from “Torneranno i prati”. The important thing in a film is the heart, the mind, the commitment. You have to be able to do a good job; even in difficult conditions.
Can you tell us about your next project?
«On Monday I start a job with Stefano Mordini, author of “La Scuola Cattolica”, “Acciaio”, “The invisible witness” and “Pericle il nero”. It’s a mystery series for Netflix.”
In general, how do you see your future in cinema?
«The Italian technicians are good, there are also very valid at the international level. However, new “classes” of young people must arrive, with less fear of “technology”. For example, I use the airbrush to put on my makeup, you have to evolve. Digital is rampant. It is necessary to update ourselves so as not to let ourselves be overwhelmed by new advances.
In this sense, have you ever thought of transmitting your work in some way?
« Yes. And I can give you some news: soon I intend to open a school in Livorno, on the Pontino. Our city has a not indifferent cinematographic tradition, it has talents and it has passion. I would like to be able to open the doors of this world to those children who cannot go to study in London or the United States. I think of it as a specific film makeup academy, with bases in “special effects” and other technical things, but also painting, art history, culture in general. I studied at the Academy of Fine Arts and this helped me a lot; the cultural foundations of the history of art, of philosophy, give you “sensitivity” and cinema is this: sensitivity. I would like to concentrate all my knowledge in courses of medium duration, of seven or nine hundred hours. I have to understand how to have the certifications of the Region to give a diploma to the students and train them as I trained, starting from here, starting from Livorno».
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