ALL UP! Happy birthday Claudio: what’s behind the magic of the film about Claudio Baglioni’s concerts in Caracalla

ALL UP! Happy birthday Claudio is dedicated to Claudio Baglioni’s summer 2022 concerts at the Baths of Caracalla. In theaters on May 15, 16 and 17, the film would not have been possible without the direction of Duccio Forzano. Behind the concerts, real multidisciplinary shows, there is instead the genius of Giuliano Peparini.

More than a concert film, ALL UP! Happy birthday Claudius it is the celebration of a collective ritual, of a great show in which different disciplines merge, both in terms of sounds and contents.
We are not even in the presence of a documentary with the classic forays into the backstage and the usual interviews. More than a film-event, then, it would be more correct to speak of a film about an event, which in the splendid setting of the Baths of Caracalla, in Rome, hosted several performers on stage, who danced and told stories, while plays of light they invaded the open-stage theater and an orchestra and choir accompanied Claudius Baglioniwho sang his most beautiful songs: from the evergreens of the 70s up to Twelve notes.

Starting today, May 15th, and then on the 16th and 17th ALL UP! Happy birthday Claudius it’s in our halls. Claudius Baglioni he is very proud of this project and with him Giuliano Peparini e Duccio Forzano. The former took care of the artistic direction and theatrical direction of the concerts, while we owe the video direction to the latter. Both accompanied Baglioni at the presentation to the press of ALL UP! Happy birthday Claudiusand the first to speak was Pepperswhat he said:

Claudio’s sounds have accompanied me since I was little, so they have truly become a sort of prayer that I know by heart. Every time I try to see how to reinterpret them. As happens when a piece by Claudio is re-orchestrated, we have looked for another colour. This time we really wanted to do something related to specific individuals, so we started with the performers, who had to be twelve because there were twelve notes. They were very different from each other, which was a plus. Returning to Claudio’s sounds, he has an extremely melodic way of writing, so varied and vast that it never happens to say: ‘And now how am I going to interpret this music, this rhythm?’. I work a lot with lyrics, and his lyrics tell a story, and I just bring this story to life.

Someone asked instead a Duccio Forzano which directorial key seemed to him more effective in returning the story of such a complex show. Here is his answer:

First of all, respect for the story itself and for what was happening on stage, and then a synergy with Claudio and Giuliano to be able to tell a story, one shot after another. The difficulty of telling something on television or in cinema is that the viewer sees one thing at a time, while others happen on stage at the same time, and therefore this is where the synergy with the artists comes into play.

Then They force went into detail and talked about the amazing work he and his team did:

There were fourteen cameras, the greatest difficulty was the location, in the sense that Claudio, fortunately or unfortunately, is always sold out, and therefore the cameras cannot be very close to the stage. In short, we were forced to use cameras with very extreme optics, practically the ones used in football, plus the audience was never still, they danced from start to finish, and therefore we had to work in post-production on a annoying vibration of the cameras. As far as directing is concerned, the story of the shooting was done with a future editing in mind: we didn’t know what would happen, but we certainly had to move in a different way than usual. When we go live, I decide the camera based on what we’ve tried. Here, having the performers, the choir and the musicians on stage, the real challenge was being able to find a dosage that would satisfy everyone, so much so that Claudio put himself at the service of the show. Often Claudio sings and is not seen, because we are telling what he is singing. The choice was between “I see Claudio singing” or “I see what Claudio sings”. And that’s where we came up with the idea of ​​giving the public what they hadn’t seen at the time for 1000 reasons. Never as in this situation is the spectator the director of himself, because he decides what to watch and what to listen to, but maybe something happens somewhere else that he doesn’t see and that instead we who are filming have to film it again, to then give it to him when it is will review in a telecast on this wonderful occasion at the cinema.

The next musical project of Claudius Baglioni is titled With all my heart and will start on 21 September in Rome at the Central Stadium of the Foro Italico. Giuliano Peparini gladly gave some previews:

There will be elaborate choreography, there will be so many things, we are working on it. We are designing a different stage from the ones we have used up to now, because we will be vertical, and therefore verticality will be our guideline. The number of performers will be higher than ALL UP! and we will also work with acrobats. We’re going to have aerial parts that we may not have used in the past, and still we want to surpass what we’ve done before, and so we want Whole Hearted to go in a really majestic direction. We really hope we can bring something new and sensational to the public.

September 21st is a little missing, and a little more until the day when With all my heart it will become a movie. Meanwhile, he’s at the cinema ALL UP! Happy birthday Claudius, only today, tomorrow and the day after. Don’t miss it!

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