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Ettore Scola receives the Jaeger-leCoultre Glory to the Filmmaker Award 2013

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Award ceremony on Friday 6 September 2013
09 | 06 | 2013

Scola’s new film, Che strano chiamarsi Federico! Scola racconta Fellini, to screen at the Festival

The master of Italian cinema Ettore Scola has been awarded the Jaeger-LeCoultre Glory to the Filmmaker 2013 prize, dedicated to a personality who has brought major innovation to contemporary cinema.
In regards to this acknowledgment to Ettore Scola, the Director of the Venice Film Festival Alberto Barbera declares: “Today Ettore Scola offers us yet another lesson in filmmaking. He had announced his retirement, satisfied perhaps with the extraordinary career that has turned him into an exceptional ambassador of Italian cinema at home and abroad. Fortunately for us, he has not kept his promise and has gone back behind the camera to pay tribute to his great friend Federico Fellini, who abandoned us twenty years ago, leaving us a little lonelier, a little more impoverished, a little sadder. I know that Ettore would not have wanted the award we are now about to bestow on him. It took a great deal of effort to convince him and had we not been motivated by such immense admiration, a passion we know to be widely shared around the world, perhaps we might not have succeeded. But we could not let this unique opportunity – his new film, which we dare hope will not be his last – slip by without expressing our affection and our gratitude. The prize we are about to award him is called Jaeger-LeCoultre “Glory to the Filmmaker”, and prior to him it has been awarded to equally important personalities such as Al Pacino, Abbas Kiarostami, Takeshi Kitano, Agnès Varda. Filmmakers, actors and directors who have left an indelible mark on cinema in the latter half of the twentieth century, just like Scola has. Without him, without the decisive contribution of his screenwriting and directing, we would not have many of the films that have made Italian cinema great, and truly immortal. As one critic and admirer wrote on this occasion, “Scola has carried off the miracle of being both funny and defiant, nostalgic and fearless, individualistic and popular, poetic and Marxist”. He brought comedy to the class war, staged the transformism that is one of the most tenaciously resistant characteristics of our country, described the very essence of Italy in the post-war years, during the economic boom, the crisis of values and the rampant cynicism. He has done so with irony, commitment, caustic vigor and a keen power of observation. All put to use throughout a thoughtful cinematic auteur that seems to have become something of a rarity in our midst. This is why we beg him, most humbly, to accept this acknowledgment as a small tribute to a Great Auteur.”.
The prize will be handed to Ettore Scola today, Friday September 6th, in the Jaeger-LeCoultre area of the Excelsior Hotel as opposed to the Sala Grande, as previously announced. It will follow the 4:45 pm screening in the Sala Grande (Palazzo del Cinema) of the world premiere of his new film Che strano chiamarsi Federico! Scola racconta Fellini (Out of Competition), a tribute to Federico Fellini on the 20th anniversary of his death.

Ettore Scola
has participated in the Venice Film Festival twice in Competition, in 1989 with Che ora è? (What Time Is It?), starring Marcello Mastroianni and Massimo Troisi, joint winners that year of the Coppa Volpi for Best Actor, and in 1995 with Romanzo di un giovane povero, which earned Isabella Ferrari the Coppa Volpi for Best Supporting Actress. In 1998 Scola was president of the international Jury that awarded the Golden Lion to Così ridevanoby Gianni Amelio. Ettore Scola’s films were nominated four times for the Oscars (Una giornata particolare (A Special Day) in 1977, I nuovi mostri (Viva Italia!)in 1978, Ballando ballando (Le Bal) in 1983, and La famiglia (The Family) in 1988). Scola has also won seven Silver Ribbons, six David di Donatello and three César awards.

Ettore Scola (Trevico, Avellino, 1931) is internationally renowned and one of the foremost figures at the vanguard of Italian cinema for the past 50 years. He is one of the screenwriters and directors who has contributed most significantly to the artistic development of Italian cinema. A contributor in his youth to the Roman satirical magazine “Marc’Aurelio” (with Federico Fellini), he made his debut as a screenwriter in the early 1950’s, and moved behind the camera in the mid-1960’s. As the author of screenplays, he may be considered as one of the founding fathers of Italian-style comedy, taking part in the creation of some of the most important films of this genre – Il sorpasso (The Easy Life), I mostri, Io la conoscevo bene (I Knew Her Well)–. This lengthy apprenticeship helped to refine his vision, to develop a style that is both nuanced and insightful, and which met with public appreciation in Italy and abroad (especially in France). Later, as a director, he progressively shifted his interest towards other themes and more complex narrative solutions. This evolution provided the basis for the critical reflection that emerges from the bittersweet folds of C’eravamo tanto amati (We All Loved Each Other So Much, 1974). The film takes stock of a friendship and reflects on the post-war period with Vittorio Gassman, Nino Manfredi and Stefania Sandrelli, a fresco of Italian history seen through emblematic episodes of marginalization. After Brutti, sporchi e cattivi (Ugly, Dirty and Bad, 1976), which won him the Best Director award at Cannes, he made Una giornata particolare (A Special Day, 1977, nominated for the Oscar as Best Foreign Film), the bitter story of an encounter between two people who are lonely for different reasons, masterfully portrayed by Sophia Loren and Marcello Mastroianni (nominated for an Oscar). In La Terrazza (The Terrace, 1980), which starred Ugo Tognazzi, Vittorio Gassman and Marcello Mastroianni, he offers an unforgiving portrait of the intellectuals and pseudo-intellectuals of high-society Rome. The special experience of Ballando ballando (Le Bal, 1983, nominated for an Oscar as Best Foreign Film and winner of two César awards), a film in music (without dialogues) about 50 years of French history experienced through the microcosm of a dance hall, bears witness to the director’s willingness to experiment. La famiglia (The Family, 1986, candidate for an Oscar as Best Foreign Film) with Vittorio Gassman, Stefania Sandrelli and Fanny Ardant, is another important fresco spanning 80 years of life, in which Scola records the transformations and contradictions of the new Italian society. After the intimate Che ora è? (What Time Is It?,1989), in Il romanzo di un giovane povero (1995, both in Competition at the Venice Film Festival) he looks at a minor news event from a grotesque point of view. His next film La cena (The Dinner, 1998) with Gassman, Ardant and Sandrelli, adopts a unity of time and place to sketch a rapid epic portrait of contemporary Italy, while Concorrenza sleale (Unfair Competition, 2001) with Diego Abatantuono, Sergio Castellitto and Gerard Dépardieu is a bitter indictment against the acquiescence with which the Italian people accepted the spread of racism in the 1930’s. In the semi-documentary film Gente di Roma (People of Rome, 2003), Scola affectionately narrates and describes the population of Rome today. In 2011 Ettore Scola won the David di Donatello for Lifetime Achievement on the occasion of his 80th birthday. In 2012 he was awarded the Gran Premio Torino.