Franco Bellomo  
  Gianni Caramanico  
  Romolo Eucalitto  
  Emilio Lari  
  Egidio Poggi  
  Mario Tursi  
  Franco Vitale  
  The Project  
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  Romolo Eucalitto  


Wandering about the Italian and foreigners sets, since the half of seventies, I have tried always to keep the same professional formulation made of humility, intuition, passion and sacrifice. The irresponsible character and the passion for the cinema helped me to overcome the difficulties that I met since the first day that I have been into "IL FOTOGRAFICO" laboratory, managed by the photographers of scene BENETTI-NARDUCCI-SCWARZ. It was a great professional gym, that I frequented trying to steal the secrets of the work through the jobs of laboratory that were assigned me. Among the most important - even if boring - jobs, the enameling of thousands of presses, that however gave me also the possibility to look with care at the photos taken by a lot of photographers that leaned on the "IL FOTOGRAFICO". After two years of laboratory, the turn of my career happened thanks to the meeting with Mimmo Cattarinich. At that time Mimmo was considered one of the most greater Italian photographers and gave me the way of knowing other aspects of our profession. For the first time in my life I was holder of a set. The movie, kind of fashion in those years, was a detective film entitled "LA MANO SINISTRA DELLA LEGGE". I remember the emotion of the first day of making; I was not able in making even a click, and was so dazzled from the set that I was dumbfounded. I overcame the impact also thanks to the comfort and the help of the protagonist, Enrico Maria Salerno, who had realized my situation. That's a long time ago since that day! Youth irresponsibility leaded me to make seeming hazardous choices, but afterwards they revealed as important. Just to make an example: I never regretted to go to Morocco for the Salvatores' movie "MARRAKESCH EXPRESS", widening above all my experience. In the nineties, the knowledge of the producer Tilde Corsi and of her business partner, the scriptwriter Gianni Remoli, was particularly meaningful. As a matter of fact, the decennial cooperation with their production company gave me the opportunity to follow all the director Ferzan Ozpetek's sets. In the middle of this period, there were different and strange professional experiences like the marriage between Cicciolina and the american artist Jeff Koons to Budapest, and their honeymoon in Greece, or the possibility that I had to make a back trip, by car, from the Kirghisia to Rome passing through Moscow (15,000 kms!). Coming back to the present time, I want to mention two sets for which I have been so lucky to take part in lately. The emotion that I have felt the first time in photographing the Oscar prize Sofia Loren on the Lina Wertmuller set, and the occasion that I had this year when was closely in touch with the cult director Abel Ferrara on the set of the movie "Mary", which was selected for the show in Venice two years ago.