CHRISTIAN SACCHETTI AAACTOR WHICH DUB-LE YOU... OR...TRIPLE

Here we are with the fourth actor of the short film Anima & Animus, shot for the National Academy of Cinema in Bologna.

In truth, Christian was the first one I selected during the castings, which I viewed and chose without delay.

As soon as I saw him act, I was struck by his credibility, the fluidity and clarity of diction given by the fact that Christian studied at the dubbing academy alongside names like Rodolfo Bianchi and Francesca Draghetti.

You can capture the unmistakable passion and that different light in a person's eyes, if you have sufficient sensitivity towards your actors and actresses.

Christian Sacchetti is a guarantee, an extremely professional and patient boy, ready to listen to any request made to him both on and off the set.

Young but already with clear ideas, since he was a child he memorized the dialogues of everything he watched and every occasion was good to use a chair as a stage; he climbed onto it and then interpreted what the actors in the movies said.

Like all talented people, Christian has a rather lightning impact on the public and that is why through the Academy many people have noticed his preparation and have chosen him for various roles.

I personally confirmed him for a rather different part from those that had previously been assigned to him, putting him to the test together with actors and actresses with an already quite consistent path, but this only amplified his extreme dedication and skill. I am of the opinion that a good director must help his actors and actresses to grow, to give them that opportunity to emerge or to confirm their talents.

Directing is a wonderful world, which allows you to establish wonderful relationships not only professional but also human. Christian's artistic sensitivity transpires in every interpretation of him as well as in the human relationships he establishes with those who work.

In my opinion, a long path of successes awaits him precisely because he is a boy who does not allow himself to step over the others but to support them; true noble souls know that there is no competition, only cooperation.

Christian has this image of a good boy, he is very reminiscent of actors of British and Scottish origins where the coppery red hair and that particular class distinguish them; just think of Michael Fassbender, Benedict Cumberbatch, Eddie Redmayne, Rupert Grint, Sam Heugan, Kevin McKidd, Ewan McGregor, Charles Dance, Damian Lewis, Paul Bettany to name a few.

I don't feel like limiting his figure only to particular genres, because I believe that the best has yet to express him and to succeed, he needs to experiment.

I would see him well playing a brilliant English magizoologist as in Fantastic Beasts with Eddie Redmayne, a mutant superhero from Marvel Comics, a young Jedi as in Star Wars, a young British soldier as in 1917.

Christian's acting in my opinion has crazy potential, an iceberg of which you can only see the tip.

I would like to associate him with the very good Edward Norton, able to switch from one role to another with surprising ease; do you remember him in Shards of fear with Richard Gere?

Young and in one of his best beginnings...simply great, or The Player where we find him shoulder to shoulder with Matt Damon law student and talented poker player, as a dirty player and a reckless hustler...enough to involve the his friend in his debts to loan sharks.

He then consecrated himself, with even more memorable roles such as in American History X where he took on the role of a convinced and violent skinhead of local neo-Nazism; but no one forgets the apex with Fight Club, which is considered one of the most famous films in cinema, or The Score where he played an ambitious thief alongside Marlon Brando, among other things his last appearance, together with Robert De Niro, without forgetting the poetic and magical The Illusionist.

Christian's more sedate and refined image does not preclude him from also taking on the role of less reassuring and crystalline figures... indeed...

I think the idea that the villain is necessarily associated with certain physical characteristics is a bit outdated. Just think of the film The Departed - Good and Evil,

where Matt Damon is bound to a role that plays precisely on the integrity of his appearance, despite being corrupt and unscrupulous. The air of a good boy, even though we all know him as a rebel genius, it is difficult to erase it from him ... His facial features are angelic and unless he resorts to a particular make-up that upsets his image, many directors have played more on using this apparent clean face to hide a different nature that worked in the roles that were assigned to him; so also for Di Caprio who started thanks to his angel face, to then cover extremely complex parts where his appearance was no longer an obstacle, to show a decidedly level preparation and skill.

On the other hand, Jack Nicholson's face is different, returning to The Departed, who seems born to be a villain, given not only by the impeccable acting, but also by the features of his face.

Particular faces of cinema were born and lived thanks to their not very reassuring and encouraging air, but the contrasts are also decidedly impactful, indeed to be honest in life it is usually just like that. Then acquired full maturity, the features and figure of a person can adapt and be versatile for as many parts.

The cinema currently allows transformations where often the physical characteristics have no weight, given the high quality provided by make-up artists and those who deal with special effects.

Christian is 25 years old, a very promising age if we want to mention young actors on the international scene of the same age as Timothée Chalamet, Tom Holland, Dylan Minnette, Logan Lerman, Douglas Booth, Jacob Elordi.

Chalamet was dressed by Louis Vuitton for the 2022 Oscars red carpet, with a black tuxedo embroidered in ton sur ton black sequin and with lace-covered edges, tailored trousers and total-black patent leather ankle boots, while these days during the Festival of the Venice Cinema sported a red genderless look, custom made by designer Haider Ackermann.

Jacob Elordi instead for the Oscars, wore an elegant black suit with single-breasted jacket and Burberry bow tie, perfectly shaped on his silhouette.

It's no news that the red carpet also gives young actors the opportunity to show off different looks, often tailor-made to convey even more the personality or style of the actor himself, or to completely change him.

It often happens that actors with a more transgressive and rebellious look wear classic and elegant garments for the occasion to create that effect of amazement in those who follow and admire them, precisely because they are garments rarely adopted by the aforementioned people or, on the contrary, dare to go against the current of bon ton, that code that usually establishes the expectations of social behavior; fashion is this, continuous change and amazement that enhances the physicality and personality of the individual who dresses, while cinema provides "models and models" who are closer to everyday people, but often with the addition of a considerable talent in acting and communication.

I don't think they would like it so much if they were just nice statues to look at...

The charm is given by a set of requirements, including our potential.

People become interesting in the eyes of others, when they have something to say and to leave...Perhaps the aspect that makes fashion less lively is the fact that those who walk on the catwalk wearing their creations are more of a support than a symbol, they have no therefore need to show any particular emotion unless specifically requested, because programmed for a particular context, setting or presentation.

Now things would seem to change on the catwalks too. Many canons have been demolished, there is more "normality" with the exception of rare exceptions where specific aesthetic requirements of presence are still required.

Stars have always been recruited as symbolic figures and with the phenomenon of emulation, it is celebrities who transform everything into entertainment. Currently also singers, Netflix stars shine on the catwalks and not only Hollywood stars and blood relatives.

I love cinema because it represents the perfect balance between the agreeable and the talented, between sensuality and depth.

Several actors were first models see Mark Wahlberg, hired by Calvin Klein as an underwear model, ditto for Ashton Kutcher; Josh Duhamel that we remember in Tranformers, was elected model of the year and the other finalist was Ashton Kutcher.

Jamie Dornan known mainly for Fifty shades of grey, black and red was a supermodel who posed for Dior and Armani but also testimonial of brands such as Hugo Boss, Dolce & Gabbana, Calvin Klein, Diesel, Abercrombie & Fitch, John Richmond, Hogan and many others.

And then Channing Tatum and Kellan Lutz but the list is long and currently even those who have not started from the fashion industry end up experiencing it since many actresses and actors have lent themselves and lend themselves to numerous fashion shows, making them memorable and iconic; just think of the unforgettable Prada fashion show that featured Willem Dafoe, Gary Oldman, Tim Roth, Jamie Bell and Adrien Brody for the fall-winter 2012-2013 collection.

Actors Kyle MacLachlan, Asa Butterfield and Jeff Goldblum recently walked the catwalk for Miuccia Prada and Raf Simons' Fall/Winter 2022-23 collection, representing their vision of today's man.

Who knows, we won't soon see Christian dressed as some brilliant stylist, in the promotion of future projects or at events that can consecrate him, the result of his passion and dedication ... I see this as extremely feasible considering that he possesses the qualities to do so. . Now like any good soul explorer, let's get past his good-boy demeanor to know what lies behind those kind but no less eager eyes to get to touch others.

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Christian Sacchetti is an Italian voice actor and actor.

With a great passion for football practiced for years, and a father who was a former professional player, having completed his accounting studies, at the age of twenty-one he enrolled at the National Academy of Cinema in Bologna to study dubbing alongside teachers Rodolfo Bianchi and Francesca little dragons.

Through the auditions organized by the Academy, he has the opportunity to shine in many short films by emerging directors: "Viraha", "Go On", "Chantal", "Alix", "Flow", "Fame", "Fiamma", "The tenant on the second floor", "Beware of the head", "Green Jogging" are just some of the works in which Christian appears in different roles.

Having joined a theater company in Cesena, he stages two shows: the first tells the events of Christ's passion, where he plays Caiaphas, one of the priests who condemned Jesus; in the second, "The killer is the butler" an adaptation and eulogy of Cluedo, has ample room for action to show his versatility by taking care of the narrative, but also by playing a motorist, policeman and Jehovah's Witness, all with changes of I dress pretty fast. Expected a new show in the works.

Christian is currently moving in the field of dubbing and acting to enrich his curriculum and his skills, with upcoming projects.

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Christian is a boy who stands out for his unceasing willpower and passion for his talents, which he cultivates because he is aware that only through them will he be able to achieve his goals and dreams; honesty and respect for the commitment of others can only make him a perfect professional. Many challenge the world with arrogance and hubris, but Christian has chosen the path of kindness and humility. Is it often the world that transforms people into beings without adequate tact or is it us who decide with which modus we really want to face life? No one is forced to look ugly where they don't want to and I believe that preserving souls and artists like him is of fundamental importance, to work in an atmosphere of pleasant collaboration, mutual support and understanding. After all, the actor must listen to the director and the director must know how to listen to the actor, even when he doesn't speak.

Christian, fashion often breaks the rules to demonstrate that we can wear something that makes us unique and makes us stand out in a completely personal way.

What is your approach to fashion and how do you live it? Have you ever had the desire to wear specific clothes, seeing some actors with clothes designed by great designers?

My style in dressing has always been dictated by what the situations are... and how could it not be.

I like to be comfortable when I'm relaxing: sneakers, sweatshirt/t-shirt depending on the season, leather jacket or down jacket; practical clothing for simple and habitual things.

When the context changes, I am the first to change style; lunches/dinners, weddings, even job interviews or in any case special moments, are the occasions in which I enjoy wearing more elegant outfits (clothing for which, I admit, I have a strong weakness) always remaining on the classic: shirts, jackets, coats long, formal shoes.

I've never had particular tastes or preferences for my everyday clothing; when I try something I look in the mirror, if it suits me then ok, if it doesn't enhance my figure, then I move on to something else.

Speaking instead of elegant outfits, it is precisely on this that my cinematographic eye pays more attention; I immediately think of the garments worn by DiCaprio and his colleagues in the film The Wolf of Wall Street, a film that tells of an era, the 80s and 90s, where the so-called "power suit" was considered a symbol of personal success, indispensable for the impact on people, especially for business people.

What was aimed at was to dazzle customers also through one's outfit, and not just the customers. If we observe, at the beginning of the film, the first dress worn by Di Caprio, who was only an apprentice at the time, it is the classic suit easily available from Zara, an absolutely good-quality outfit, but nothing particularly hypnotic.

When over time she manages to achieve her goals, albeit in a dishonest way, her outfit takes a level leap and from the simple "Zara" she moves on to more attractive suits for those who at the time wanted to demonstrate their status, a vice that we have brought up to the present day.

The garments that he later wears are signed Armani, the high couture Saville Row, Gucci ... giants so you are spoiled for choice.

By now age does not set limits in style, as evidenced by many very young actors and actresses but often with decidedly risky looks or which give them a more adult air compared to their age; times change, generations too, the impact with the media and everything that revolves around the world of images has expanded irreversibly. Having a look that arouses intense emotion in the public is the basis of a successful stylistic work. What do you think about all this and about the fact that following a trend is so important among many people to feel part of society itself?

I absolutely agree that on a cinematic level the look of an actor must impress the audience... acting is also image.

Those who act must do it through their appearance, to make people understand their social class, where they come from, or what happened to them.

By now, after years and years of continuous evolution, stylists have reached a stratospheric level of inventiveness and since the birth of social media, where everyone can see the work of others in every part of the globe, it has become impossible not to be influenced by style of people who are constantly in front of the cameras.

In some ways social networks have been a blessing, they have allowed many people to make themselves known and to express their talent and passion; in an age where everyone sees everything, this sets off a new fad every day, a fad that the masses tend to follow.

I'll be very honest: I find the thought that in order to feel part of society, people have to follow the influences of the media quite ridiculous.

It's right to take an example and inspiration from others, which was done even before social media; it happens to me too for my jobs, dreams and passions, but we must always remember the strong detachment that exists between social media and reality; social media is not reality.

Following the masses and copying others leads, personally speaking, to absolutely nothing.

It is our qualities and the choices we make that determine who we are within society, not those of others.

The care of the clothes especially within theatrical or cinematographic representations of historical subjects is fundamental; the creation of period costumes is a rather complex art because it requires following the customs and habits of the time, and some periods bring rather elaborate clothes with them; What are the films that you think best represent this incredible and meticulous accuracy? Are there any that made you wish you could be in a specific historical period, to step into the shoes of a certain character?

Of course. Now, remembering that I belong to the Post-Millennials generation, the historical films that struck me the most were Gladiator and Alexander that I saw for the first time at school, which contain within them a stylistic precision and scary costumes. Armours, weapons, men's and women's clothes for both plebeians, nobles and soldiers are of unique accuracy. Another one that comes to mind, despite being a made up story is Troy. I am a fan of Greek mythology, it would be nice for me to be able to act in a representation of that period where there is a certain lifestyle and beliefs.

A contemporary western/drama that I love is Revenant, with 1800s costumes created to perfection and then, even if they are considered more comedies than historical films, I still want to mention the films of Bud Spencer and Terence Hill such as "Trinity" and its sequel , or "God forgives ... I don't", also westerns; suits of excellent precision that make you want to become a cowboy.

Among the sets you have worked on, which are the ones in which your image required more preparation and was distorted for scenic and costume purposes?

The most characteristic set in terms of costumes was probably "Go on", set in medieval times; I played a prisoner incarcerated in a dungeon with his partner. The clothes recreated for the setting were "simple": long tunic with a belt, long socks and shoes of the time.

Another one instead that required a lot of time for the make-up was "Viraha", where I played a boy suffering from cancer, so with the make-up we had to eliminate the presence of the eyebrows, whiten the face, made the eye contour a more appropriate.

Who are the male figures who have inspired you in acting and who do you consider style icons?

I have never had an acting idol in particular, there are some from which I take inspiration or example, but not a favorite one.

The actors I admire most are the aforementioned DiCaprio, Christoph Waltz, Russell Crowe, Will Smith, Jack Nicholson, Al Pacino, De Niro, Christian Bale, all actors I respect a lot for their versatility. I also really appreciated Eddie Murphy, Jim Carrey for their hilarious comedies.

Among the Italian ones that I prefer instead, I nominate Abatantuono, Favino, Benigni and Pannofino who are also very versatile within the general show. I like actors who know how to be versatile, not only in front of the camera, but also as voice actors or in the theatre.

As far as style is concerned, an actor who certainly differs in clothes and look both on stage and in real life is certainly Johnny Depp.

Christian you were born as a dubber...so you understand very well that the aforementioned role, however important in our country, remains to carry out its function behind the scenes while the actor dominates the scene; in the wake of this, you explained to me how it is often of fundamental importance that a voice actor also demonstrates preparation as an actor. What are the differences you found and how much does the image affect when one decides to work through it too?

I will never get tired of repeating it: the voice actor is an actor in all respects!

Anyone who wants to be a voice actor must first of all be an actor, since dubbing is nothing more than a "specialization" of the actor.

The only differences between the two are the place where you work.

Many think that it is enough to shout motionless in front of a microphone and that's it. The dubber must follow with his gaze and also with his body whatever the actor is doing, and at the same time also follow what is happening around the actor. I've seen a lot of wannabes, like me, go in and out of character and on stage all the time, just when they have to say the line. But when you dub, if you want to work well, you have to dub not only the lines, but also the mood, the facial expressions, where you look, the movements... in short, you have to ACT!

How do you manage to keep your identity firmly in place, despite knowing that you will have to interpret many others often distant from your way of acting and thinking? Do you think that the artistic sensibility of some actors then leads them to get lost because of this?

It depends on what you mean by "lost". A professional actor will always be able to keep the personalities, both his characters' and his own, separate, because he knows that is nothing but his work. We occasionally see actors who are influenced by the characters they play and from which they draw inspiration to perform beneficial actions in real life; roles that gave them courage and made them more confident, they were instrumental in understanding issues and facts, of which they were not particularly aware or documented in depth. Thus was born the initiative for various current issues: women's rights, homophobia, racism, politics, poverty, environmental and animal defense.

As bewilderment in a negative sense, I think of actors who, once they have achieved success, indulge in vices such as drugs, alcohol or the squandering of their assets; it often happens...and that's a shame. As for me, I know very well who I am and what I want and as I said before, anyone who tackles this job with professionalism and dedication, making use of their talent, will always be able to separate.

In cinema it is the psychological profile that should usually prevail over the aesthetics, but not in all contexts it is the same and not in all roles.

If it has been established that a character is vain, superficial, little inclined to reflection and introspection and the context does not require a too elaborate psychological profile, he can perform his usefulness simply with his presence. Do you prefer when the image of the character prevails or his psychological profile? If you can, provide us with tangible examples by thinking about the films you have seen.

I much prefer when it's the psychological profile, the pure interpretation that prevails. The image is part of the acting, but without someone who knows how to represent that image properly, it ends in nothing.

In the end, whether it's about expressing yourself through your own image is fine with me, but you have to make whoever's watching you understand what you're interpreting.

A part that I loved very much for his psychological profile was that of the mathematician John Nash, protagonist of "A Beautiful Mind" played by Russell Crowe, a character who expresses himself and everything that happens to him only through numbers.

Costume design is always fundamental in any genre; an area where this has considerable importance is certainly the fantasy one, where there are characters that are the result of creativity, totally invented worlds and where those who manage must shape identities starting from scratch, see sagas such as The Lord of the Rings or superheroic universes.

The Christian of now has had formative experiences that have perfected him and introduced him on the path of the great acting passion: dreams and future projects that you would like to materialize.

All I can think of is...as many things as possible!!!

I want to be able to carry out an infinite number of projects, both in front of a camera and behind a microphone.

I conclude by asking you the same question I asked your colleague Francesco Primavera on the set of Anima & Animus...It is interesting to compare certain answers, obviously without anticipating anything from the others...How much did you enjoy playing the character? Fantasy, whether it's more dramatic or not, is one of the greatest examples of how essential and decisive costume design is. Are you excited by the idea of putting yourself back in the same shoes soon and who knows maybe for a feature film?

Absolutely yes, by now I'm fond of it; a screenplay in which fantasy, which I adore by the way, is mixed with current issues.

Speaking of my role, it was certainly the one in which I was able to give maximum vent through anger, arrogance, presumption, skepticism...later replaced by fear and remorse, emotions that my character wants to reject and hide but which will have to accept.

I really liked the figure of Leonardo, very far from what I am in real life; if there was an opportunity to film him again, this time in a feature film, he would be fabulous. I can not wait.

Christian's sensitivity and depth of mind are tangible after his answers; touching people's souls through a rather developed interiority requires a different level of predisposition to others. This can be seen from the moment in which the psychological side according to Christian dominates the scene and I share the thought across the board. The image must be at the service of the character and first of all, his personality, his inclinations, his emotions and his habits must be communicated.

Cinema tells and this is why the visual side must be taken care of as much as the backbone, which is the content. We are saturated with beautiful images, we are submerged with splendid videos, but if they have value and valid contents, the number is drastically reduced. Perhaps for someone like me who comes from photography, the vital essence of communication is vivid; a shot must contain all the information, sensations and emotions that a video would have time to tell in a more diluted way and the movement would accentuate its dynamics. We're talking about a single instant that must enclose an entire story... you understand the complexity; many directors have moved on to photography first and I think it is essential to develop a complete and satisfying approach. Usually the transition takes place when there is a need to communicate through speech, movement and managing time.

Films in which the psychological side has predominated and dragged the spectators, leaving them completely involved, there are several and Christian reminded us of the unforgettable The Beautiful Mind; how not to mention Joker with Joaquin Phoenix, a film where the beauty of the images is overcome by a memorable and compelling interpretation; an actor capable of making the internal torment so palpable as to cause it to the viewer; and then we have: The Woman Who Lived Twice, Marnie, Psycho, A Clockwork Orange, One Flew Over the Cuckoo's Nest, The Silence of the Lambs, Fight Club, Interrupted Girls, Memento, American Psycho, Insomnia, Mulholland Drive, Donny Darko, L The Machinist, Black Swan, Shutter Island, Inception, Melancholia, Split, Gone Girl, The Woman at the Window...to name just a few, those that have had a great response from the public.

Human psychology is complex so being able to navigate through the mind to involve it in the first person is the gift of the most capable directors; the more complex the internal dynamics and the profiles of the characters are, the more a person will have to question himself, his evaluations, his perceptions, his experiences, his opinions and convictions. It is therefore normal that in the face of films of such weight we could not pass over enjoying only the images, but we should have a real face to face with ourselves, often a reason for fears and fears. The depths are scary that's why many prefer the surface, but alas it so happens that what lasts over time is the psychological aspect and what grips it and not just the casing; we are in all respects our mind, even when we think we are moving away from it. From this I reconnect with the importance expressed by Christian of knowing how to act in order to be able to dub, in fact if you reflect on this, the dubber is nothing more than the inner voice of whoever moves on the screen and to be the inner voice, one must be able to interpret it first person through actions and situations. The experience will then be able to give the necessary baggage to propose it again on other people; in short, if you don't feel an emotion or a real feeling, you can't reproduce it in a credible way. Touching then to think of how much sacrifice Christian has spent to complete at least half of what he will get at the end of his entire artistic career ... especially for those who perceive its intensity and I who directed it on my set have perceived it with my eyes and I guarantee you that there is no greater gratification than seeing what you have written come to life through the skill of those who not only limit themselves to reading, but who become a part of your feelings. You will fly high and reach as many minds and spirits as possible, because I am sure that through your work you will be remembered as a man of extraordinary ability.

CONTACTS:

• Facebook: https://www.facebook.com/christian.sacchetti.353

• Instagram: https://www.instagram.com/chrisacchetti/

• Among the works performed for the National Academy of Cinema in Bologna, the short film "The tenant of the second floor" - Written and directed by Marco Raffaeli and Andrea di Carlo: https://www.youtube.com/watch?v=8UxXNr2Zrwc&t=407s