To create a film, a good idea or a good story is not enough. It also requires planning capable of identifying the starting points to orient the editing.
Cinematographic planning is not an abstract or arbitrary thing, based on the whims of whoever would like to make a film. It is a precise, concrete stage for any type of production. In the initial choice of the desired relationship with the audience, the destiny of a film is often decided.
It requires thoughts on how to transform the initial idea into a narrative, which perspective or vision would be the most effect for its presentation, and finally how to go about finding the necessary resources.
Daniele Maggioni is a producer, director, screenwriter and vocational teacher who has worked in cinema, mainly independent and research cinema, for forty years.
He produced feature films, documentaries and short films which were selected by national and international festivals, among which Pane e tulipani (Bread and Tulips, David di Donatello Award 2000, Quinzaine des realisateurs/Cannes) directed by S. Soldini, and more recently the documentary Surbiles by G. Columbu (Locarno 2017).
He wrote the screenplay for the films Come l’ombra and Il mio domani (directed by M. Spada), and with M. G. Perria and L. Perini, he wrote and directed the film Nel mondo grande e terribile (on the life and works of Antonio Gramsci), officially selected for 2017 Shangai Festival.
He was the director of the School of Cinema in Milan, and published many articles on various specialised magazines and catalogues, as well as a monograph about Joris Ivens (with S. Cavatorta) for the publisher Castoro Cinema, and the textbooks Professione Filmmaker (1997) published by Mondadori and Il filmmaker digitale (2008) published by Hoepli.