I remember the very day I discovered Italian filmmaker and actor Giulio Base — on Twitter! His voice of reason seemed like such a breath of fresh air on a platform usually invaded by opinionated views that only wish to prove any wisdom wrong. I went about finding out more on this artist, the man behind the avatar “Il Banchiere Anarchico” (The Anarchic Banker) which was what his Twitter handle was at the time. The journey didn’t disappoint. Base is as cool a filmmaker as he is an actor but also as a man. And that perfect package is wrapped up in kindness, intelligence and generosity.

A month ago, I started to notice a lot of mentions of his latest film ‘A Starry Sky Above the Roman Ghetto’, a tribute to the resilience and courage of the Jewish community of Rome but also an ode to the power of collaboration, especially between the younger generations. The film had been streaming on Rai Play in Italy and I wasn’t in my country of birth, which made it a challenge to watch it. So I did what we do these days, I used social media to my advantage and asked Base directly for a way to watch the film. Kindly, as ever, he replied with a link and when I timidly asked if he would be open to an interview after I watched it, he not only said yes, but was totally game for a long, leisurely chat, over Zoom — as things go these days.

The result is a wonderful conversation that only feeds my craving for more of Base’s work, which is now an ongoing voyage of discovery for this film writer. While his name may not jump immediately to mind at international audiences like say, Sorrentino or Garrone, Base is the very best Italian cinema has to offer — genuine, telling stories that come from the heart and allowing a look into the best our society has to offer. And isn’t that what cinema should be, a positive experience.

‘A Starry Sky Above the Roman Ghetto’ is based on a story by Israel Cesare Moscati, the late, well-respected member of the Roman Jewish community, writer and sometime documentarian. It tells the tale of a young girl, saved by a nun when her parents are seized by the Nazis on the day of the Raid of the Ghetto in Rome — October 16th, 1943. But what happened to her? A group of students from both Catholic backgrounds and the Jewish community decide to unite their efforts and create a play around her story, in an effort to find her. The result is magical and the resolution of the story simply perfect. All told in Base’s style, with kindness and high regard for its subject.

Following is our chat, where the Turin-born filmmaker talks about the film, his acting training with the great Vittorio Gassman as a mentor and later as a friend, his own character and what he will never ever do on social media. Base’s cool voice, elegance and easygoing demeanor, with more than a touch of handsomeness, are ever present as I type this.

‘A Starry Sky Above the Roman Ghetto’ screens in the U.S. this month, as part of the Naples Jewish Film Festival on March 19th, virtually it is the closing night film at the New Jersey Jewish Film Festival also on 3/19, and later on April 23rd at the Boca Raton Jewish Film Festival.

It’s a must-watch.

You have PhD’s in History of Cinema and Theology and have been a member of MENSA International for the past twenty years — which all tells me something very important about you. Yet you never look down at your audience from up high, as if you’re more intelligent than we are. You’re never pompous, your stories are always human, simple and down to earth. So what attracts you to a project?

Giulio Base: What attracts me is if a project doesn’t talk about things that are tangible and concrete. If I can somehow move into a different dimension from the immanent, what is strictly realistic and concrete, and can make the audience dream. But not just that, also allow people to reflect on what is transcendental. What is outside of us, away from the materialistic — dealing with the spiritual, if you want to call it that. Even the religious, for those who wish to address that. That touches me. Man questioning himself about what exists above, or beyond him. 

You leave us thinking about our answers. You don’t supply them for us — you simply show us the way. 

Base: Thank you. If that’s true that’s my forbidden dream, if you want. In my films I would never want to give a defined thesis — actually I would everyone to see a different movie within my film. Or even better, their own movie, where to find their own answers or even discover an enigma — have an opinion or not. 

Personally, all this “opinionism” out there doesn’t make me so happy. It’s not always necessary to possess an opinion. You are not diminished if you don’t have one, you can also simply remain an observer of things around you, and never form an opinion. I don’t have a lot of opinions, for example. I must admit I have many, many, many more doubts than opinions. I ask myself many more questions rather than state “I believe things are like this.” This “opinionism” has become a rampant trend, which clashes with solidarity, Because as soon as you have an opinion, and someone comes along with a different one from you, you immediately feel in discord with them. It immediately turns into “tifo” [meaning: cheering for your home team] — like Juventus vs. Turin, Manchester United vs. Liverpool. Me, you, no you bad, me good. Whereas, if you don’t have opinions…

If my cinema and I stress “if” can do this, my intent is fulfilled. 

Although you’re against this “opinionism” trend, you are an active member on Twitter, which is the most opinionated social media platform in the world. That’s where I found you actually. With your wisdom you actually manage to create a dialogue which is very relaxing and open. To follow you is a great thing! 

Base: I thank you for saying that as well. It’s a great pleasure to know that one can find such a connection this way. And if you’ve noticed, I actually never tweet my opinions, I never take sides. On there, I tweet about cinema, I retweet a lot, or about my work. I never write things like “Juventus won, they were great!” or “Renzi did well and Draghi did badly,” while everyone on there says everything about everything! For starters, I don’t trust anyone anymore. I mean, if you are for example, in my case a director and you tweet about botany, I can’t trust you anyone even when you tweet about cinema. I am then afraid that you nothing about nothing. Personally, on cinema I watch it, I make it, I study it and I plan it, for the last 40 years, something is left there. Those who do that, who stick to their own knowledge, I trust. It’s those who have an opinion about everything, soccer, politics, virus, religion I don’t trust, and I don’t follow them on Twitter. 

It’s interesting, when you were in Venice during this past edition, you tweeted about a lot of films you were watching, as a spectator mainly. What I notice about many filmmakers of your esteem, with such experience and possessing a long repertoire like you — directors who are well known and beloved — is that they have stopped watching other people’s films. What brings you to the cinema, to watch others’ work? Is there something you are seeking there?

Base: Honestly I don’t think I have enough success to put on airs. But what fuels me always is my training. My training is as a radical cinephile, radical in the sense that I had a hunger for cinema. While growing up, at 14 or 15, before becoming an actor or a director, the first way to connect with cinema was to write reviews for a small magazine in Turin where I lived. My training there came from the classical standards of Cahiers du Cinéma. And when I’d observe those filmmakers and those reviewers I liked the fact that they were one and the same. Truffaut, Rivette, Rohmer, in his way Godard, Tavernier, you couldn’t tell where the cineast began or the reviewer ended — it was all one thing. Personally, and perhaps alone although I don’t feel like a hero, I continued this tradition. I still haven’t decided if I like more to make movies or to watch them. Or write them or study them. 

In the fabulous book by Thierry Frémaux which is titled ‘Cannes Confidential’ — which I loved — he says something wonderful which is that the love of cinema cannot exist without the love of books about cinema. It’s so true! I couldn’t do without books about cinema. As I cannot do without films by other filmmakers. One of the philosophies I learned from writing about cinema is to only write about what I love. You’ll never find anywhere a word I’ve written criticizing a film. What is the reason for doing that!

If I like a film, maybe I’ll manage to inspire someone else to watch it. Fortunately I don’t feel envy. I could name ten Italian filmmakers that I think are better than I am. I love their films, we are colleagues, friends, we even play soccer together, but they feel like mentors, teachers in a contemporary manner. If I watch a film by Matteo [Garrone] who is a friend, I learn something. Sorrentino, Tornatore, Virzi, the Innocenzo brothers — when their films come out I’m the first in line to watch them. And that’’s only mentioning the Italians. 

It’s very refreshing to hear someone speak this way. So tell me, when you’re creating, does your intellect ever come in conflict with your instinct?

Base: Yes, very often. What ends up winning in work, is a third part — my willpower. If there are three areas, the head is the intellect, the heart the instinct and the third, midriff, it’s the willpower because I am a man of doing. If tomorrow they offer something to me that is completely removed from who I am, I will try to make it — not because I want to get rich. I don’t have any vice that requires money, I don’t like cars, jewelry, I love to travel granted but can do that without renting a private plane! I’m easy. But I love to create. So even if I’m offered what is called here a “cinepanettone” [e.n. what is made for the masses to watch at Christmas time, usually staring a popular actor in some absurd Italian comedy]  I try to make it the best I can and maybe make it somewhat better. If I listened only to myself I would let the instinct win but often in creation I listen to my head — it’s a great question and it’s complicated. 

Let’s now look back, you were an actor before becoming a director. You studied with Vittorio Gassman in Florence who also directed you on stage. Can you talk about this period for you, which is continuous for you since you’re still playing parts in various films, those you direct and those directed by others, even Ridley Scott. 

Base: I have wonderful memories from that time. Not only of Florence, which is the most beautiful city in the world, the most creative, the most illuminating and the strongest. The most magical. But also, my first love was the theater, and actually, before that it was acting. When as a child I dreamt of making cinema or being in the theater, I didn’t imagine there were script writers and directors, it only meant one thing, being an actor. I wanted to be an actor. Then I started to understand and follow where my talent lay but I still love to act. In English you say “to play”, in French “jouer” it’s a fantastic game. There is nothing more wonderful and fun than to act. I mean, directing gives you great satisfaction, you are the father of the work, the creator, but it’s an unbearable effort. I say it without shame, I mean some could argue it’s not going to work in a mine, but it’s still really arduous. And I say it as someone who is willing to work hard. Acting on the other hand, they come to pick you up, they coddle you, you need to learn a couple of lines, you are constantly pampered, all day long they ask you “what would you like?” You sit in your trailer, reading the newspaper, comfortable, you’re driven home, you don’t have any responsibilities — if the film does well, you’re lauded but if it doesn’t it’s not your fault. Autographs, it’s’ a wonderful life! And it’s the game we all played as children. Halloween, carnival, you put on a mask and play. 

With Vittorio Gassman who was my teacher I had a wonderful happy rapport. We went around 360 degrees together, across all phases. At 14 I was his fan, I would follow him and stand outside his dressing room at the theater and once, after about ten times he recognized me and even said “it’s still you!” That young boy at 16 had him sign the copy of his autobiography in a bookstore, that boy at 18 got an audition at this school and got it, that boy became the actor that debuted thanks to Vittorio and that young man then became, I can say this, his friend. And that man directed Vittorio for the last time in a movie. His last film he made with me, for me and my son’s name is Vittorio. I should not have to add anything more. I feel incredibly joy in calling my son, “Vittorio” several times in a day. He’s taller than me, maybe even taller than Gassman, he reminds me of him somehow. 

What is the first film you remember watching as a child?

Base: I’m not sure if it was the first film but I remember ‘A Fistful of Dollars’ by Sergio Leone. With my dad, the film came out the year I was born in 1964. Obviously, this was in reruns… I was like three years old and watched it in what can be called an arthouse. I remember this marvelous Western.

We were talking magical cities before. I feel like New York is that for you also. In your last film, the character you play is on tour in NYC. And your film will go to the Jewish FF in NJ, why did you choose to have your character in NY?

Base: It’s interesting that you noticed this, no one ever did before and it’s true. The line my character says in the film “it’s the beating heart of the world” is what I think and say about the city. I love New York, very much, and one my dreams remains to live there a while. Not as I’ve done in the past, 20 days a month, but to find a year, a sabbatical and say, I want to live this year in NY. Because it’s the Florence of the modern world, there you feel really if the world had a heart, there you can feel the blood flowing to every other corner of the world — in cinema, in literature, in art, in music, in everything new. Maybe the other coast of the US for technology but NYC is a city that you can feel vibrating. I chose NYC in the film because the character is vaguely inspired by Riccardo Muti, a great musician, who in his biography talked about his time at the Metropolitan Opera as the most beautiful years of his life. That’s why I chose NYC.

Your new film ‘A Starry Sky Above the Roman Ghetto’ which you co-wrote along with Israel Cesare Moscati, a documentarian from the Jewish community of Rome and Marco Beretta. When did you decide you needed to make this film and be its director?

Base: This time it wasn’t so much me to decide that rather a choice by the producers — Rai Cinema and Altre Storie. Israel who was the author of the subject and the motor of this story, had wonderful ideas but wasn’t a filmmaker per se. He did so much in life and in the last few years he started to make documentaries but the documentary form doesn’t need the same technical knowledge that a narrative feature films requires. He was 70 and it would have been a challenge for him to become a first time filmmaker. A Catholic POV was also necessary to tell both sides of the story. The Jewish POV is there but also the alternate side was needed. Since they were familiar with my filmography they thought I would be able to tell this story with care, since the subject is thorny — conflicts, parents, schools, as you watched in the film it’s a delicate balance. 

I immediately I thought I wanted to make this film since I find it a prestigious subject. I mean, anytime you tell such important events in our human history even if tragic, you are honored to work on them. And yet you also hold the responsibility of doing it well. Be true to the events. As I told you before, I really love to study and document myself before a film and this project provided that opportunity. 

You also needed to wear silk gloves while telling this story because it is never morbid beyond its events. We carry to it our own “experience”, what it means in our DNA but you tell us a universal story of people understanding one another, not just a story of the Ghetto in Rome. 

Base: We wanted also to lower the fences between Jews and Christians if there are any. And to tap into the mutual understanding of those atrocious facts that happened and should never happen again. In recounting those fact I was very careful not to weaponize them in their violence but also not sugarcoat them. I tried to be dry, in my story and I was truly lucky to be helped in that by the head Rabbi of Rome, whom I had on my side for this project. He was a consultant on the film and the Jewish Community of Rome made it possible for us to be the first film ever to be filmed almost entirely within the Roman Ghetto, in the Synagogue and throughout the community. 

I think apart from the project coming from an eminent member of their community, they also understood that I wanted to do things right. Righteously, that’s such an important word for the community. I now feel like a real friend, them to me and I to them.

How long was your preparation for the film?

Base: From the initial phone call to the first take it took a year. I was aided immensely by their archivist Claudio Procaccia and the care that he took in making sure the real events in the film were told fairly and precisely as they happened. Those first five minutes in the film took months to study. Every suitcase looks like a suitcase carried in real life. Some have a piece of paper in their hands — the Germans didn’t speak Italian and carried with them a leaflet that said “In the next 20 minutes gather all your things and leave your home.” So even just seeing that piece of paper in the film, people who know their history can realize how much care went into the telling of this story. 

Last question, what would you like an audience member to take away from the film? And has that idea changed with the lockdown. 

Base: If I could wish something, the audience I’m addressing are the interpreters of the film — the youth. I would like that the younger generations came out of the cinema with a desire to do something good. The kids in the film do things,many many things.