About
Documentaries. Portraits.
I work with those who have built something concrete and can argue it: researchers, founders, voices from international programmes.
No templates. Each project is built around the subject, the context, and where the film will live.
I work where press releases compress too much and the keynote is over too soon.
Practice
I film those who have devoted years to an idea, a discipline, an institution.
Scientists, economists, designers, directors of international programmes, voices from international programmes and research centres.
I work between documentary, interview and short-form, handling direction, cinematography and editing.
Projects originate inside summits, foundations, international programmes. The form changes; the gaze does not.
— Amedeo Greco
Contexts
I work where access, time, and the discipline not to oversimplify all count.
Research centres, summits, foundations, independent brands.
How I work
Preparation is worth as much as the shoot.
Every interview starts from a conversation without a camera. I try to understand how the subject thinks before setting it in a frame. Without this step, the documentary stays a sum of questions and answers. With this step, it starts becoming a portrait.
Filming is the most visible part of the process, but not the longest. The setup adapts to the context, never the other way around. Between preparation, direction and post-production, more time passes than on set. The camera records. It does not interview.
A forty-minute interview becomes an eight-minute film, and choosing which thirty-two minutes to cut in editing is the most important decision. It is an editorial choice: what of a person is worth returning, and what is not. The way of looking decides.