The story of “My dear Prince” takes place in Rome in the second half of the 1960s, in particular in the silent and sophisticated Viale dei Parioli. A setting that takes us back to a magical historical moment for cinema and the arts. What were the inspirations that made you choose this moment and this city as the backdrop for the screenplay?

First of all, I would like to thank the entire Festival organization for selecting the script. It is an honor for me. Well the inspiration all comes from a total admiration for him, the “Prince”. The one who I believe took theater comedy to the next level. So important that I can’t even pronounce his name, the Prince of laughter, a totem for the Neapolitan people. Our task is to create stories that can unite the feelings of those who read. So I imagined what he might be thinking on his last run, far from his home.

I believe he knew that his time was over… And from here starts a journey, a story… A tribute. I honestly don’t know what definition to give, when I was writing I felt like when you cook something for your family or friends… You put all the love in the world into it and you hope that others will also feel an emotion after tasting the dish.

Even the figure of the Prince refers us to a world that has disappeared, which imbues the screenplay with a sense of nostalgia. Can we read it as a metaphor for something else, such as the perception of time passing?

The Prince is a pivotal figure. It represents consecration in all its aspects, and nostalgia is a fundamental part of this consecration. Think about it, we never get to the highest point… but not because we don’t get there… Much more simply because we never realize when we reach that stage where we can finally say “Okay, here we go”. It’s a lie that we tell ourselves and therefore we almost regret the beginnings, the real ones, when they call you by name.

Still on the subject of nostalgia, the screenplay offers us the bitter-sweet balance for the protagonist, determined to retire from the scene but without regrets. Again, the theme of the passing of time. Can an artist remain true to himself in a world that changes inexorably?

This is a complex question. There are so many dynamics that revolve around the sphere of the artist… I think that the artist must only give account to himself and to those who believe in him, to those who share emotions with him. Furthermore, artists like the Prince have an invisible and indissoluble bond with their land, and this has an impact, a great impact because coherence is also important. It’s doing what you believe in even if they put walls up against you.

The screenplay also investigates the theme of the relationship between truth and fiction concerning our imagination, with a reference that alludes to cinema as a place where this “illusion” is created and can be shaped. Do you believe that this is ultimately the purpose of cinema?

It may seem silly but I like to consider the concept of Santa Claus. We know that it is very unlikely that an overweight man will travel the globe in one night aboard a sleigh pulled by flying reindeer… It’s very difficult but what stops us from believing it?? I personally still believe it… It makes me feel good. I tried to transcribe this somehow… Because imagination, illusion… These are things we need. That border with reality, with childhood. It is also contained in the figure of the great Alfredo… It could be the driver, it could be the Prince, or the reader… Maybe Santa Claus who knows… Just having a little imagination doesn’t hurt.

What is the next project you will dedicate yourself to?

I can say that I am still young in this sector, but fortunately there are several projects that I care a lot about. So many stories that I would like to tell and share and let the pen continue to write. A special mention goes to a docufilm written together with my dear friends Giovanni Mazzitelli and Epicuro Perrucci.

THE SCREENWRITER

Name: Gian Marco Russo
Script: My dear Prince
From: Italy