Luciano’s experience spans period Costume design through to contemporary design with a strong emphasis on historical high-end TV Drama.

https://www.lucianocapozzi.com/

https://www.instagram.com/capozzi.luciano/

 1. Tell us about your new film that’s just coming out (Juliet & Romeo)? How was your experiences working on the film?

It’s a musical that tells the true story that inspired Shakespeare to write Romeo and Juliet. It was exciting! The director and producer of the film, Timothy Scott Bogart, wanted to tell this story with a decidedly new touch compared to the past: Fresher and more dynamic, so it was a real challenge for everyone! We shot for two  months at night, in winter between Verona and other cities in central and northern Italy, in beautiful locations. There is a lot of color in the film, and in my costumes, a lot of music. and fantastic actors.

2. How did you get your start in the film industry?
I was lucky enough to train in a school where, in addition to purely academic notions, we  students were also offered the opportunity to work directly for both theatrical and cinematographic productions!
My baptism of fire was a theatrical performance: Euripides “Cyclops” in the ancient theater of Segesta (Sicily), in front of 5000 people, while the first film I participated in was “O Re” a historical movie, with Giancarlo Giannini and Ornella Muti.

3. What did you learn the most working on your first film?
It was all magical: entering Cinecittà for the first time… my First day, I was sent to the set to check the costumes, after dressing a group of about 250 soldiers (obviously I wasn’t alone). It was a summer day at the end of June, very hot…so Beautiful! I ran all day to arrange these extras, who as soon as they could, would  lay down in the shade of some trees, dropping their beautiful feathered hats and their heavy wool jackets. I returned home in the evening very happy, but practically destroyed (big laugh), that day I realized how magical, but challenging (even physically), my job would have been.

4. What are the key differences when working on a TV series in comparison to a movie?
They are two mediums that use similar but not identical languages .
In both cases the script and the characters are defined starting from a search for various references: pictorial, photographic, filmed, depending on the period covered. The real difference is that in a television series, the costume designer has a longer period of time during which he can “ speak“ about a character. Obviously in cinema, the definition of details is greater. However, especially in recent years, also thanks to the success of on demand platforms, the “visual” quality of television products has grown a lot.
Years ago the substantial difference was also the schedule to prepare and to shoot : Proportionally longer for a movie, shorter for a television serial. But even in this case, these differences almost completely disappeared.

5. Is there is film/TV show or two that you’re most proud of that you’ve worked on?
I am emotionally attached to my first international film ‘Los Borgia’ with which I received the nomination for the Goya award, I won the award for best costume designer at the French costume film festival (mullen sur Aller 2008) and also the Spanish Coronas award. I also remember with great affection the television series Titanic blood and steel because it allowed me to receive other awards, but above all to tell the story of the Irish society at the beginning of the 900s, in a very poetic way.

6. What type of film would you love to do costumes for that you haven’t done yet?
I would like a drama like Rose Tattoo by Tennessee Williams but I also miss an horror film in costume but also contemporary, and a fantasy  too … I had a nice project years ago, “transcendent  kingdom”, of which I had started making sketches, which unfortunately was never made.

7. Describe the process of a typical production. How early do you get hired in pre-production? Do you work and report to the Production Designer? Is your wardrobe budget already set in stone by the time you begin your first day?

I am usually contacted directly by the director or producer of a project in the pre-preparation phase. They send me a short synopsis so that we can start talking about it.
Once my presence is confirmed, I begin the preparation which varies depending on the type of
product, usually not less than 3 months to be able to work on the script, to search for references, to create sketches and to search for material. In this phase, there are meetings between the various departments, to make sure that everyone follows the same mood and it is precisely on these occasions, that I interact with the other department heads to coordinate the work. Regarding the budget, this is defined before starting the preparation.

8. What makes a great costume designer?
The ability to put himself at the service of a director, with his experience, sensitivity and style, trying to be an added value for the film with his work. Even a good ability to intertwine good professional relationships, a good agent and certainly a pinch of luck does not hurt.

9. What advice do you have for high school or university students who are looking to work in the Costume Department in the movie industry?
I would advise them to try to maintain their youthful enthusiasm, as long as possible and to be prepared for the inevitable difficulties that will arise. The profession of costume designer is in fact very fascinating, but also more complex than one might think. I would advise them not to want to rush things, because the apprenticeship is very important and I would also advise them, to learn right away to make their work respected.

10. What film have you watched the most times in your life?
Definitely Rose tattoo, Blade Runner, Bread love and Dreams, and Orlando.