The idea was to make everything move together: the luggage, the geometry of the set, the rhythm of the frame.
I spent several months developing the project with Plasma for Roncato, using Gemini to develop visual references. I then built the storyboard shot by shot around the actual location.
By the time we got on set, we knew what we were working towards. Filippo Cinotti, our director of photography, helped turn those ideas into real images.
While I was focused on the shots, Michele Trevisani kept the set on schedule and Tommaso held things together behind the scenes.
What stayed with me was the feeling of a whole crew moving towards the same image.
