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Jasmine Trinca • Actress

Shooting Star 2007 - Italy

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Jasmine Trinca was an 18 year-old university student when she found herself in 2001 on the “Montée des Marches” in Cannes, alongside a beaming Nanni Moretti, to receive the Palme d'Or for The Son’s Room [+see also:
trailer
film profile
]
. The more than brilliant debut of this warm and sweetly resolute actress was followed by a turn in Marco Tullio Giordana’s The Best of Youth [+see also:
trailer
film profile
]
, for which she won the 2004 Nastro d'Argento, Michele Placido’s Romanzo Criminale [+see also:
film review
trailer
interview: Michele Placido
film profile
]
, Manual of Love by Giovanni Veronesi and, most recently, The Caiman [+see also:
film review
trailer
interview: Jean Labadie
interview: Nanni Moretti
film profile
]
, once again with Moretti.

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We met up with her on the set of Riccardo Milani’s Il disco del mondo (Piano solo) [+see also:
trailer
film profile
]
[lit. “The Disc of the World (Solo Piano)”], in which she stars alongside Kim Rossi Stuart.

Six years have passed since your debut and I imagine that any initial doubts you had about your future have been replaced with certainties...
The initial uncertainties were real. The encounter with Nanni was one between a person who made films and another who never thought about being in them. The film was very successful but this didn’t change me. Later, I realised I couldn’t keep saying no: I acted in other films that were lucky to receive a lot of recognition and realised that it wouldn’t have made sense to stop. Today, I like what I do very much, I knew the mechanisms of cinema and my view of it is less enchanted.

After having worked with directors such as Moretti and Giordana, have you come to understand what is the actor’s true role in a film?
I was lucky to have worked with very intuitive, talented and experienced directors, who, in fact, took a student and guided her to receiving an acting award. The actor is an instrument of the director. If you’re lucky, the director will help you in your work. The actor cannot perceive what is the right thing to do. I don’t feel like I’m passive, I simply place my trust in the director’s hands.

An efficient star system has been created in the US. They are striving to create one in Europe, through initiatives such as Shooting Stars as well, but they’ve probably succeeded only in France so far.
Ours is a society conditioned by the promotion of the image. It’s not enough to create something good if you then don’t know how get it seen. In the US, superstars are “packaged”, whereas Marcello Mastroianni and Vittorio Gassman were legends for their profound value. Today, people perhaps champion actors who are not necessarily the best on the market. We need to invest in our own cinema, as the French do, adequately promoting our talented filmmakers. As well as focus on the stories, which are too often written with television in mind.

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