Eleonora siro, chameleonic beauty and magnetic emotion

Elisa Nori
Apr 1, 2022
16 min read

Eleonora entered my life path, as a providential gift during the choice of actresses and actors for my short film Anima & Animus, made for the National Academy of Cinema in Bologna, as did Giulia Sofia Paolucci, Francesco Primavera and Christian Sacchetti, whose interviews you will find here on the site.

Humanity and the simplicity it radiates, come before her indisputable beauty; she is a woman full of humility and at the same time full of ability and competence in what she does.

Eleonora is a magnet, energy in movement ... because it is difficult not to notice her and even more so one is kidnapped while she performs, like a musician, her musical composition, with elegance and professionalism her art which is that of acting. .

I can affirm that working with Eleonora has been constructive and useful, because she always seeks the comparison with whoever she has in front of her, she knows how to give the best when it comes to work but above all, she gives herself with an amiable warrior instinct. She immediately perceives when a project can be fundamental and valid, and she has the courage to face it together with you on a path of growth by proposing advice, given her considerable experience. We know that to learn it is necessary to learn from the best and I still feel honored to have had it on my set, despite all the difficulties given above all by the timing.

When I decided to get involved, I knew I wanted to do it with prepared people, who would have learned the part in the best possible way because for me it was essential to understand, beyond the finalized realization of that product, how and what I could then improve later in an even more ambitious and complete project.

"The right time to start will never exist. Don't delay. You'll find the solution along the way."

I love this sentence because it encompasses everything. If I had had problems or if I had been satisfied without being fully convinced of who I was taking, if I hadn't dared to select my actors I would have ruined a fundamental part. I would do it again a thousand times, despite all the unexpected events, the alternative solutions, the insufficient time that a non-independent project often brings with it. But the downside is that this, in my opinion, has even more value and merit. I have loved every imperfection of my work, knowing that I will do even better, because it is thanks to people like Eleonora that you can point towards your dreams and achieve them. She is a piece that allowed me to complete my work.

Phobias, obsessions, fixations are typical of artists when they create ... but they vanish the moment you look at your creature on the big screen ... Taking its first steps? It doesn't matter ... it's moving them ... The important thing is to walk.

Eleonora possesses a versatility in immerse herself in different characters but also speed in grasping the psychological aspects that distinguish them, being able to quickly pass from one emotional state to another, notable. Succeeding in conflicting moods in a short amount of time ... it's not easy at all.

Her figure would lend itself to many works, which can emphasize her athletic and slender body, her bewitching but at the same time penetrating expressiveness, her femininity but at the same time a sharper and harder temper, that masculine part that exists in everyone. we ... as in man there is a female part.

I would see her well in a Wonder Woman role ... having a certain sensuality but at the same time sweetness, a sense of justice and humanity, as the actress Gal Gadot conveys in this role. She too has a clean face that she captures, precisely because she is natural beauty.

Even as her Bond Girl she would turn heads in a lot of people ... or as a bionic woman.

Personally I believe that Eleonora would work a lot even in the fantasy genre, which I am already taking into account for my future project.

Her charm, but also her ability to be ruthless and uncompromising if necessary, would be a winning combination.

In a certain sense she was too in Anima & Animus ... But here I stop! Top Secret as you already know!

Some unmissable fantasy films for the enormous work of costumes and special effects:

The Neverending Story, Ladyhawke, Labyrinth - Where Everything Is Possible, The Lord of the Rings, Harry Potter, Edward Scissorhands, The Faun's Labyrinth, Fantastic Beasts and Where to Find Them, The Chronicles of Narnia, Alice in Wonderland, The Tale of Tales - Tale of Tales, The Sorcerer's Apprentice, The Brothers Grimm and the Enchanting Witch, Big Fish - Stories of an Incredible Life, The Great and Powerful Oz, Percy Jackson and the Olympians, Miss Peregrine - The House of the special boys, Spiderwick - The Chronicles, Parnassus - The man who wanted to deceive the devil ... If I wanted to continue I would have to occupy an entire article just to list them !!!

Indeed, I take this opportunity as a starting point for a neighbor, totally focused on the costumes of fantasy films !!!

Speaking of superheroes ... Eleonora as Catwoman or Batgirl ... what do you think?

I imagine her to be feline and sensual ... with that provocative and seductive attitude that never goes beyond vulgarity ... amazing!

Difficult to pigeonhole it only in some genres ... as it is easy to identify instead, with various actors and actresses with rather standard roles.

Her face would also lend itself very well to comedy and drama ... not least to the refinement of clothes and consequent roles in other eras ... thus entering the historical genre.

To name but a few of the most beautiful we remember: The other woman of the king, Shakespeare in Love, Perfume - Story of a murderer, Casanova, Les Misérables, Anna Karenina, The crusades, Mistress of his destiny, Gangs of New York, Braveheart , Titanic, Spartacus, The Gladiator, Jane Eyre, Elizabeth, Marie Antoinette, Pride and Prejudice, Barry Lyndon, Amadeus, Il Gattopardo; many of them earned Oscar nominations for costumes and most of them even winners.

Now let's start by making the career path of this incredible woman shine, through a short biography that can reveal her steps as a proud rider and allow you to explore her experiences, before interviewing her.

Eleonora Siro is an Italian actress and voice actress.

Originally from Salento, she moved and formed in Rome shortly after coming of age.

He starts working on many national and international sets for the most varied advertising brands, directed by directors such as Ferzan Opzetek, for Sughi Star, Daniele Luchetti for Poltrone and Sofà, Paolo Genovese, for Grand Soleil, Luke Scott, for Tim's campaign, Bill Fertik, for De Longhi and many others.

But not only commercials and advertising campaigns, we also find the actress as the protagonist of the episode in various national series on Rai and Mediaset, such as Don Matteo, I Cesaroni, Nebbie e Delitti, Ris, I Cavalieri di Castelcorvo on Disney Plus and Web Series online.

She dedicates herself to the theater by staging performances and theatrical plays for the review dedicated to Di F. Fellini's centenary in 2020, as well as some unpublished comedy shows in a period ranging from 2008 to 2013.

You have shot several music videos, among the best known "Love moves" by the trio Il Volo, and "I don't know to forget" by Antonio Carluccio, "Pavlov" by Livia Ferri or "Raccontami tu" by Ilir Argentiero.

The first feature film as a protagonist of her was shot in 2009, "The Return of Ulysses" by Pietro Loprieno, an independent project set in her homeland, Puglia.

He also works in numerous short films, independent and not, experimental projects recognized in various International Festivals, such as "La Seduction Spectrale" by Riccardo Ceccherini, selected at the "The fine arts film festival" (FAFF) in Venice, California in June 2021. and the last “Aktion T5” by the Cacciatore brothers, in distribution for three months, already selected in numerous international festivals with already 4 victories taken home.

With M.A. Messina's “Taxi” alongside Luca Lionello, Marco Risi gives her the Award for Best Actress at the Naples Film and Psychoanalysis Festival.

Also in Salento in summer 2021, Eleonora is shooting an independent film entitled Cani Randagi, directed by Alessandro Zizzo, about the sacred crown united.

We now come to the focus of the interview.

Eleonora is a woman of statuesque and sensual physicality; this has also allowed her to enter the field of fashion.

Precisely for this reason I wanted to ask her some questions about it, to dive under her skin ... the most difficult part to reach and touch.

Diamonds originate in the mantle of the Earth, where the conditions of very high pressure necessary for their formation exist ... those who limit themselves to the surface collect pieces of glass that very often seem ... but are not.

Eleonora, through your experience, what do you think is fashion for cinema, and cinema for fashion?

I believe that fashion and cinema today particularly go hand in hand.

Only in 1948, in fact, was the figure of the costume designer in cinema recognized and considered, thanks to the institution of the costume prize at the Oscars.

Since style, look, clothing play a fundamental role to best express a character, his characteristics, his position in society for example, or the way he lives and where he comes from, but not only, fashion describes , also represents eras, traditions, places, in a cinematic story, an essential fulcrum for involving the viewer in the story.

Many films have influenced fashion over time, this is another example of how cinema and fashion travel on the same track, I can think of Tom Cruise's Rayban in "Top Gun", or Alex's legwarmers in "Flashdance", or the James Dean look white t-shirt, jeans and black leather jacket.

Thanks to the cinema, in “American gigolo”, Giorgio Armani affirmed his brand and made known his informal and sporty style, but at the same time elegant, dressing Richard Gere.

In "The Devil wears Prada" the whole world of fashion becomes the protagonist.

The cinema becomes a springboard to launch many brands.

But fashion also promotes and helps the cinematographic mechanism.

Many stylists and big fashion houses supply the clothes for the red carpets for example.

Cinema and fashion and fashion and cinema come together, helping and supporting each other.

In my experiences, I think it is essential, even just for an audition on a part, to look for everything you need to get into a character, starting from the look, from the clothing, following the historical era and pulling out of the wardrobe what can be useful to me. for the scene, including objects and accessories.

As you know, the first Oscar for costumes was established only in 1948, even if the success of the dresses had already taken hold much earlier, favoring the limelight of many actors and actresses. What are the films that you think are the most beautiful and significant for the care of clothes and costumes?

The films that come to mind thinking about it and that have struck me for the attention to detail are "The Irishman", "Joker", "La La Land", "Revenant", "Grand Budapest Hotel", "Alice in Wonderland", "Memoirs of a Geisha", "Gladiator", "Titanic", all mostly contemporary films, but I do not forget Givenchy who collaborated in the early 60s in "Breakfast at Tiffany's" dressing the wonderful Audrey Hepburn with the iconic little black dress.

Since you are also a model, how did you live and how do you live fashion?

Yes, it has happened to me and I still do some fashion projects.

Eleonora experiences fashion as a means, as a means of transmitting something.

Each of us expresses himself as best he believes also in the clothing that is, and it can be a way to express oneself, perhaps even going against the trend compared to the fashions of the moment.

Now tell me… The stylists and directors you think are most valid in being able to arrive not only from the point of view of the content, but also for the scenic care.

Among the Italian stylists in addition to Giorgio Armani named first, together with Valentino and Prada, passing through Missoni and Dolce & Gabbana, Versace, and many others .. I consider their characteristics extraordinary, the attention to detail, each in its own way, with the their style, in the cuts, in the choice of materials and colors, how they manage to marry perfectly in various contexts. Together with them, I love the particularity of Jean-Paul Gaultier.

Among the directors, on the other hand, Tornatore and Garrone certainly come to mind, who have shown particular care and attention, but there are so many, Tarantino, Tim Burton, Spielberg, Nolan, the Coen brothers ... the list is truly infinite ... Above all because I believe that every author pays particular attention, according to the story he wants to tell, to use, use every useful tool to help and involve the viewer as much as possible.

Eleonora Siro instead, what do you prefer to wear? Do you have a particular style that sets you apart? The outfits you love the most and their colors.

Me? (I reflect for a while looking in the air and hiding a slight smile)

Eleonora I think she is from this point of view a super practical woman, certainly all comfortable garments first of all, which always make me feel at ease, and who cares if they sometimes lack femininity or sensuality, that if there is it comes out anyway.

Jeans, one of the most used garments, low-waisted, high-waisted, flared, cigarette .. low boots, amphibians, and sneakers. In summer, flip flops or barefoot :)

I love summer also for this reason, because we wear few things, comfortable and light.

I don't prefer patterns, I use dark colors for winter. This sure.

In the summer, on the other hand, when I come out of hibernation and feel more myself, I use wide skirts, t-shirts, tank tops, shorts, more soft colors, and a swimsuit is always within reach!

Of all the theatrical or movie sets you have acted on or sets you have worked on as a model, which ones have seen you completely change your look? Were there any dresses that you particularly remember?

I love seeing myself in other guises, undergoing transformations and becoming something else in my own eyes.

I love jobs where they allow me to do this.

I love directors who are able to glimpse something different, to imagine

my figure regardless of what you see and that's it.

For example, I turned into a teacher of the future for a project, with a nice white bob including fringe, makeup made of rhinestones and glitter, a futuristic white dress and a robotic voice,

Spettacolo teatrale "Xché con la X" regia di Luca Varone

or once, for a short with Luca Lionello in a heroin addict, the make-up transformed me a lot in that scene, and my hollow face lent itself a lot to the play of light and shadow created by the make-up artist, dressed strictly in black, dress of flax.

Cortometraggio Taxi

Regia - Marco Arturo Messina

Fotografo di scena - Elia Falaschi

Another transformation that affected me was for a job I did in Paris for BBC Art, where I had the honor of wearing the role of the famous Mona Lisa. She was a bit like feeling observed and studied by the great Leonardo Da Vinci.

In Don Matteo 9, on the other hand, an Indian Amazon, Princess Pennabianca.

Boots as I like them, and pieces of various skins and furs to cover the body, wig with very long braid and various jewels.

For a play I once played a man's role.

And for a commercial for Vodafone I have tripled myself :)

What are the divas who in your opinion have made the difference in terms of style? Do you have an icon that stands out among all?

Maryl Streep.

The most surprising I would say.

Amazing actress capable of a thousand characters, always different and intense.

Elegant and extraordinary in her interpretations.

How much do you think is the image important outside the workplace and within it? What advice do you feel you can give to readers in relation to it?

In general, I believe that in the world we live in, today more than ever, in private daily life and in the workplace alike, image matters.

It counts and how! (alas ... with bitterness)

At least in the very first impact, the one we all have with our eyes, the superficial one.

Very often we believe or think or, as the word itself says, we imagine that, in fact, a beautiful image can fulfill everything, it can always be a winner.

I believe that to be successful, yes, the image is important, (after all, cinema is made up of images ... and if they are not "beautiful", our eyes would not be attracted to them at all), but in the same way the content is fundamental, to touch not only the eyes, but also the brain, heart and soul.

Remaining on the subject ... In the shoes of which characters would you like to immerse yourself in the future, both as an educational and working experience, for your film career?

I would certainly like to have the opportunity to interpret a historical or costume film, perhaps set in the 1700s or 1800s, to be able to study and analyze a certain mentality, traditions, customs, objects of the past, culture of a certain time. ..

But also the beginning of our millennium, the 1930s or 1940s for example.

Or even fantasy films, where the creativity of the interpretation can be even more stimulated, aided by ad hoc costumes, invented looks, scenography and special effects.

Last question ... Being an actress is an experience that leads you to wear more "masks". Fashion supports this, giving the possibility to wear the clothes that confirm that mask ... So agree with me, that it is easy to access multiple identities ... This can, however, easily lead to losing one's own. What do you think is the secret of an actor or actress to first and foremost maintain solidity and consistency with their skin?

This is my favorite question, actually I answered you a little between the lines of the previous questions.

Being an actress is one of the most beautiful jobs in the world in my opinion, it is a job that allows you to live many lives in one.

It is a job that allows you to analyze and study the human race, within different social classes and in all guises of any era.

Yes, it is just like accessing more identities and perhaps in times never lived before.

This really shouldn't lead to losing your own.

It might be easier to "get lost in emotions" and not know how to manage them, yes, especially at the beginning of a course of study, when you don't have enough technical experience.

Several years ago, at the beginning of my career, it happened during an improvisation for an audition for a film ..

It was a dramatic scene and I had to cry disappointed by what my character had been through.

I used the Stanislavskij method, in a nutshell, you use your own emotional memories of a given situation and transport yourself to that circumstance.

Well, at the "stop" of the director who at that moment was shooting with the video camera, after a very strong and lazy interpretation, I could not stop myself.

The tears kept falling anyway.

It is a very special feeling, even difficult to describe, I felt almost stripped like Eleonora at that moment and not protected by the character.

Simply because I didn't know how to manage emotion.

An actor must be able to do that, manage and modulate emotions, we are envelopes that are filled by the character, and by his characteristics, also because there are many takes in the same scene, and an actor must be able to reproduce the same one. emotion for a variety of times.

It is as if it were a dip, into that different world, and you have the opportunity to "play", ("play now" as the Americans say), to live and be transported to that globe, involved in that history, in that situation , to then re-emerge with his own face and personality, perhaps destroyed by the wonderful fatigue and suffering of a certain character or role to be interpreted, but with an adrenaline charge that is only Eleonora's.

Not the character.

From there you recognize yourself and you do not get lost.

After this swim in Eleonora's career, I came to personal conclusions and considerations.

Eleonora is certainly a determined woman, but she never forgets kindness and courtesy towards others. You can be ambitious but with brains ... and she has plenty to sell ... Also because the mere ambition without anything behind it, without talent, without culture and without sacrifices is nothing but useless vanity.

In her there is a part of dedication to work but also a wild and free spirit, which claims that slice of purity in the world, which can then give her the right balance and harmony in her interpretations. It is clear that for her human contact and the exchange of experiences are not only ends in themselves, but the fuel that allows her to set in motion an essential mechanism for an actress: to feed on the lives of others and then be able to make them her own, where required on a set. The art of acting needs people like her, because when we want to see a film, we want to feel involved and experience intense emotions, which can make us fall in love, exalt, entertain, reflect, smile, reconsider our being and maybe encourage us to do our best.

In my opinion, cinema must be absolutely educational, it must raise consciences and must be accessible to all so that everyone can draw from its power ... a power that cannot be compared, cannot be quantified.

Eleonora made us understand that the link between fashion and cinema, between these two great columns is indissoluble ... even when one moves away from the other for a moment ... in the end they always tend to get closer.

One cannot support the Cinema building without the other, because they are the guarantors of its stability and solidity.

Cooperation is absolutely the fundamental aspect ... This intertwining is the winning key that allows us the WOW effect every time we enter the theater to see the film we have long awaited, and I, who want to work and collaborate with the Cinema, I can assure you that the amazement is continuous. One of the most beautiful sectors together with the field of Fashion, where creativity, inspiration and technique merge in a sublime way ... poetry !!!

Giving an identity to a character not only in the most internal but external aspects is the only way to make him complete and reliable. The surface must be as important as the soul. Eleonora also underlines this, and I support her thoughts across the board.

The actor or the actress are not beautiful statues ... They are in motion, they are in the making, they are in constant evolution during their performance. We are not talking about static or even using the body only as a "shoulder".

The involvement of the senses is total. From this we can realize and appreciate the skill of an artist in the world of cinema.

The more or less pleasant envelope, often not indicative of the actor's or actress's skill itself, can be exploited in different contexts. Not all are beautiful indeed the best to be honest they are not at all, with the rare exceptions that combine both aspects.

First of all, those who act must be good at touching people's hearts, knowing how to handle them with such ease as to bare the viewer, in the same way that Eleonora spoke of the ability and importance of mastering emotions for those who have to communicate them. Absolutely true.

A strong line in Batman Begins comes to mind:

"To overcome fear you have to become fear. You have to bask in the fears of others. And men fear above all what they do not see."

If we want to reinterpret it in a positive way, if you know how to manage something you will be able to manage the consequent reactivity of those in front of you even more, indeed you will be able and aware of touching the right chords.

Let us remember that emotions are not seen, but they are the most upsetting, both positively and negatively.

A well-built character psychologically needs an equally credible image and this is where fashion comes into play, further enhancing an already unparalleled engine. Cinema is primarily visual art. We let all the materials and fabrics of this world crown the dream of every good actor and actress to be complete and equipped with everything necessary, to shine on that big screen to which we all run as soon as we have time, as soon as we want to see something that we have been waiting for and wishing for so long, through which it is still possible to dream.