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The years of my youth coincide with the years of the post-war period. They were intense years lived with curiosity and the necessary ability to find some scopes of survival in a context that was changing quickly. In the 1956 I began a period of professional formation in the Divo Cavicchioli's study. The assiduous attending of the movies sets, joined with the good teaching of Cavicchioli, gave me the necessary basics to go in for an extraordinary profession: the photographer of scene. The baptism of fire happened on the set of "IL FERROVIERE" by Pietro Germi. They were the first clicks, to which many others followed. I alternated the photography of scene work to that made as press-photographer. I seemed to be born for the cinema. My indiscreet eye looked for and succeeded in finding something of different. And here are "... it's filming", the thin game with the actors and the complicity that was born with them. From the set of "I COMPAGNI" by Monicelli to "LETTERE DAL KREMLINO" by John Huston, up to "VENGA A PRENDERE IL CAFFE' DA NOI" by Alberto Lattuada. Finally the actresses, beloved and caressed. I looked for inwardness and seduction in their faces: Gina Lollobrigida, in the movie "UN BELLISSIMO NOVEMBRE" by Bolognini; Irene Papas, Vanessa Redgrave and Katherine Hepburn in "LE TROIANE" by Cacoyannis and the very beautiful Catherine Spaak in "LA BUGIARDA". Then, the world of the cinema has been a beautiful opportunity to travel and to know different realities. The clicks that I like to define "Clicks of the Heart", or all the children photographed around for the world, deserve a particular quotation. Crude, essential... sick clicks. The man's look watches in the exposures, and faithfully shows the representation of "different living", that way of living that few people are able to catch during their own existence. It still was the cinema and the fellowship with Tomas Milian in the series of the legendary "MONNEZZA". Finally the friendship and the splendid cooperation with the teacher of the italian thriller Dario Argento. About him, I shot the sets of "OPERA", "LA SINDROME DI STENDHAL", "IL FANTASMA DELL'OPERA", "NON HO SONNO" up to the last one "IL CARTAIO". Among the television hits to which I have worked on, I remember with love "IL COMMISSARIO MONTALBANO" series and the exciting set of "PERLASCA," where I received the compliments of all the insiders for my job. Regarding the beginning of the seventies, I have to do a particular thanks to Divo Cavicchioli, Sergio Spinelli and Tazio Secchiaroli... teachers but, above all, intelligent and curious men.