Franco Bellomo  
  Gianni Caramanico  
  Romolo Eucalitto  
  Emilio Lari  
  Egidio Poggi  
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  Gianni Caramanico  


Before to be enchanted from the cinema, and to belong to its great family, in the first years of seventies I gained experience cooperating as press-photographer for various and famous illustrated agencies, that kind of work which gave job to many colleagues of mine too in the middle of the sixty. Before this experience I breathed the air of the Italian art and painting, thanks to the cooperation with the magazine "IL POLIEDRO", that allowed me to be in touch with the most famous painters, to withdraw them in their working and private moments. The meeting with Pasquale Squitieri, in the editorial office of the newspaper "IL PAESE SERA" during the seventies, was fateful for my work. In addition to establish with him a friendship bond, I cooperated professionally to his first film entitled "IO E DIO", when he was director. From that day my life changed and become full of surprises, made of adventures trips. Sometimes it was tiring, but never boring. Another meeting, equally important for my professional career, has been that with the producer and friend Ovidio Assonitis. Thanks to him I got in touch with the so-called American starsystem, with names of the caliber of John Huston, Harry Fonda, James Cameron, Glenn Ford, Sam Pechinpak and others, which, besides appreciating my job, congratulated me on my Italian cuisine. About this matter I remember when Huston, on the set of "TENTACOLI", called me and said by an incomprehensible but nice Italian-American slang: "Giani, le tue fote soni arte ma gli spaghetti... wonderfoul!". This was the students' spirit breathed on the sets during those years, in comparison to which, the current ones are honestly a little bit sad.
Another meeting, that I still remember today as "a show in the show", has been that with Vittorio Gassman and Giancarlo Giannini on the set of "LO ZIO INDEGNO". I remember their flashes of wit, the games and the jokes to which the whole crew assisted being enchanted. It was 1988 but - after more than twenty years - those clicks, those pictures show still today their authentic vitality: the plastics and the facial mimicry of that phenomenon of the show that is Gassman, relives in his authentic humanity in the cycle of unpublished photos of the back stage, exposed within the 46 Edition of the "Two Worlds Festival" in Spoleto. The interest of the audience - both Italian and foreigner - toward this kind of pictures, strengthened in me the conviction that it is possible to talk about art and culture to a heterogeneous audience by means a photographic click only.