Beyond the Screen – Esmé Sciaroni

FOR “THE TASTER” YOU WORKED WITH SILVIO SOLDINI. HOW WOULD YOU DESCRIBE YOUR COLLABORATION?

This year marks forty years of working with Silvio. We met when we were very young, became friends, and I have worked on almost all his films. I read the novel Le assaggiatrici two years before shooting and we talked about it at length and I loved the idea straight away. Silvio and the Italian company Lumière were looking for a Swiss-German coproducer; I suggested a solution and it worked out. Our collaboration needs few words: we grew up together, including in our cinematic language. Today I know exactly what he wants, and it perfectly matches my own taste.

How did the on-set collaboration with the German actresses go?

Authenticity was crucial, hence the decision to work with German-speaking performers. Silvio didn’t want the film to be perceived as a purely Italian production; the international cast and the strong commitment of all creative departments make sure of that. For my team and me, working for “THE TASTERS” was a real gift: they were enthusiastic about everything, even when the make-up involved prosthetic teeth or disfigurement effects.

What was special about working on "THE TASTERS"?

Because the story is set during the Second World War, I had to carry out extensive historical research. Silvio and Swiss DoP Renato Berta had already defined the colour palette and the mood; I relied on that basis to choose the make-up shades. First tests – always decisive – brought several approaches together. I also took part in Renato’s final colour grading, a wonderful conclusion to my work.

Your latest big success came at Cannes 2023 with Alice Rohrwacher’s "LA CHIMERA". Was it your first time on the Croisette?

No. I was there in 2017 with Paolo Virzì’s LIKE CRAZY (LA PAZZA GIOIA) and, much earlier, in 1992 with two films including Gianni Amelio’s THE STOLEN CHILDREN (IL LADRO DI BAMBINI), which won the Grand Prix du Jury. What an honour! It was also my first time working with producer Ruth Waldburger.

How did you get into cinema?

I attended the film club and the Locarno Film Festival from my teenage years. Cinema has always been a great love, but I never thought of making it a profession. At 19, I left Ticino for Paris to attend a make-up school – at the time there was no substantial training in Switzerland or Italy. Initially I wanted to do theatre make-up, but soon realised it would be hard to make a living. My discovery of film make-up came on an IDHEC short (today La Fémis): it was love at first sight, and my passion for film sets has never left me.

Are you always present on set?

Absolutely. It’s on set that we see whether all the prep works and feels right, for me but especially for the director and DoP. For the series MY BRILLIANT FRIEND by Saverio Costanzo, we arrived four hours before shooting to prepare both actors and extras. The workload was huge; costume, make-up and hair departments together could involve up to fifty professionals. Besides designing the make-up, I was head of the department – a first for me – which brought me closer to the directing and organisational side; my architecture studies helped. The series was hugely successful in the US and earned me the honour of joining the AMPAS, which awards the Oscars.

How has the make-up profession evolved in your view?

The time when you did everything alone is over; techniques have advanced enormously. Film stock has practically disappeared, everything is digital, so the requirements are different. There are ever more special-effects specialists and new related jobs. But it’s a privileged profession – every project is a challenge.

Can you already talk about new projects?

I’m currently working on a pilot episode for a series and preparing files for several feature films. I always find it fascinating to dive into a new project and serve the director’s vision.

Finally, which director would you like to work with one day?

In Switzerland, definitely Ursula Meier.