My full name is Luca Machnich Palmerini. I am a former editorialist who wrote an acclaimed encyclopaedia on Italian horror films entitled ''Spaghetti Nightmares", collecting the professional reminiscences of Italy’s leading actors, screenwriters, directors etc. in the genre. I look back with particular pleasure on my encounters with the director Romano Scavolini and the actress Daria Nicolodi, two wonderful, highly accomplished individuals whom I admire immensely, and who resemble me to a certain extent. Today’s cinema needs more people with their cultural sophistication and intelligence if it is to achieve a revival. I myself am I devotee of exquisitely composed camera shots, and also a visionary when it comes to my ideas, true to my family’s legacy in films, given that my mother was an actress, while my grandfather did experimental work with film for the Technicolor company. And my great grandfather opened Dublin’s first movie theatre, the ‘Cinema Volta’. In fact, one of his partners was the writer James Joyce. At the age of 13, I got my first taste of filmmaking with a super-8 camera, and today, without any false modesty, indeed, backed by the hard evidence of the 548 awards that my debut work has won to date, I take pride in being considered one of Europe’s most accomplished, up-and-coming directors of horror films.
I am working on two projects, one in collaboration with a child psychologist and the other together with a police official. One is a typically American horror story, while the other is of a northern European interpretation of the genre, though both address controversial subjects on which I hold very firm opinions that I intend to express with absolute sincerity. I am a fan of horror films with substantive content and messages, a direction that has seldom been taken in the genre, so I only hope I can find producers courageous enough to support me. For now, that is all I can say on the subject.
If you want to see a film that mixes and matches other genres, that reinvents the classic horror film, putting you through emotions so strong that, forever after, you’ll find all the other genres too tame and boring, then go see The Eve!
At the time, The Eve was only the world’s third short film to be based on a theory developed by Max Luscher, a Swiss psychotherapist, who had determined that every shade of colour selected by a given individual when he or she paints, or chooses clothes, or makes some other chromatic decision, actually expresses the state of their soul, a theory that advertisers make much use of, matching the colours of positive moods to the products they are selling, whereas I used Luscher’s chromatic scale to chose the colours of the dreams, hallucinations and drawings of my main characters. In fact, colours might be the real stars of my film, as in the case of Nicolas Roeg’s masterpiece Don’t look Now, in which the colour red, in what amounts to the lead role, only appears in moments of desperation or aggression.