Scamarcio come Sophie Marceau

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Scamarcio come Sophie Marceau Il successo ottenuto come idolo delle ragazzine, e poi la crescita professionale fino a diventare un attore apprezzato sia dalla critica che dal pubblico, questo il percorso personale compiuto da Riccardo Scamarcio, e tale da spingere l'attore a paragonarsi alla protagonista di Il tempo delle mele, affermando scherzosamente: "Ho detto più volte che sono la Sophie Marceau del cinema italiano".
È successo durante un recente incontro con la stampa in occasione del Napoli Film Festival. L'attore pugliese, candidato al Nastro d'Argento con Mine Vaganti di Ozpetek, ha voluto ripercorrere la sua carriera, e i tanti cambiamenti che l'hanno contraddistinta. Partendo dagli studi al Centro Sperimentale di Cinematografia, interrotti dal successo starodinario di Tre metri sopra il cielo, fino ai progetti per il futuro, legati alla casa di produzione gestita con la compagna Valeria Golino, a una nuova fiction intitolata Il segreto dell'acqua e al ritorno a teatro con Romeo e Giulietta.

"Avevo il bisogno di ricominciare a sentire l'innamoramento con il mestiere di attore," ha detto Scamarcio. "Quello che per la prima volta provai al teatro Astra di Andria a 16 anni. Il successo e il passaggio continuo di set possono far dimenticare l'essenza di questo mestiere, il rapporto diretto con il pubblico è invece un'altra cosa. Sono convinto che questa sia la professione ideale per chi è curioso e ama il rischio. Non ci si deve quindi mai adagiare e rilassare: per un artista è pericoloso."


Uno dei ricordi più vivi della sua già decennale carriera è legato a Romanzo Criminale. "Telefonai io a Michele Placido, " ha dichiarato infatti Riccardo. "Tutti volevano essere in quel film, me compreso. Placido non mi ha mai detto di avermi scelto. Mi vedeva troppo magrolino per il ruolo di Nero. Alla fine però deve essersi convinto. Al primo ciak terrorizzò tutti: forse è stata l'unica volta in cui ho seguito al millimetro ogni richiesta ed indicazione di un regista. È stata l'esperienza professionale che più mi ha fatto crescere." Ben altra atmosfera, invece, si respirava sul set di Mio fratello è figlio unico. "Luchetti scelse di lavorare solo con macchina a mano. E questa sperimentazione fu fondamentale per noi attori, che eravamo liberi di recitare a 360 gradi, senza inquadrature di riferimento. Luchetti è un regista che ascolta molto. La scena finale del film la modificammo io ed Elio Germano."

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