The goal is to have an Italian Super Bowl

Emanuele Cristofoli, alias Laccio, official choreographer of Eurovision 2022 and artistic director of Laura Pausini at the co-performance of the event, tells Fanpage.it the details of his shows.

Laccio and Laura Pausini on the podium of Sanremo 2022

Laccio and Laura Pausini on the podium of Sanremo 2022

Emanuele Cristofoliin arte lace, is one of today’s most in-demand choreographers and artistic directors. During his career he curated the performances of Raffaella Carrà e Laura Pausini. He was the artistic director of the latest editions of X Factor. He choreographed Moonlight for the Saturday Night Live on NBC, for the miniseries The new Pope and movies she 1 e she 2 by Paolo Sorrentino† Today he is appointed as the official choreographer of the 66th edition of the Eurovision Song Contest and as the artistic director of Laura Pausini’s shows in the co-performance of the event. Fanpage.it interviewed Laccio to learn more about the performances he curated at Eurovision 2022.

Emanuele Cristofoli, aka Laccio

Emanuele Cristofoli, aka Laccio

Choreographer, dancer, artistic director, you have fulfilled many roles, how would you describe yourself?

I describe myself as a creative person. I like to think and modulate things based on situations: sometimes a scenography can be used, sometimes a choreography. Our world is so big that it can be complicated to have a single definition. I like to look around me, creativity is the basis of many things.

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The stage of Eurovision 2022

The stage of Eurovision 2022

What does it mean to be creative today?

Would certainly be a solution. It happens that people are not able to represent their thoughts concretely: they often have an idea, a desire. That desire is made concrete by the help of people like me, who have the ability to visualize an idea and make an image of it. Maybe the performer on stage wants to transfer energy but doesn’t always know the codes to bring energy to the stage, I help to find these codes, through a world of graphics, choreography or costumes. They are all languages ​​that communicate with each other. The goal is to create balance on a stage and not confusion.

Laccio and his Modulo Factory team

Laccio and his Modulo Factory team

What are the stages of the artistic creation of a performance?

We start from a main idea that storytelling must have. Even a simple performance should convey a message. From there we work on mood boards, collect ideas and start drawing, planning the scene. When you think of live shows, you think of an internship. The process is usually the same: trying to imagine what the final result will be, that’s the image you’re looking for. Everything results in an image.

You directed X Factor during a pandemic, was it more of a constraint or an opportunity? Can you tell us the experience?

I’ve worked extensively for X Factor, but this program has consolidated my credibility and my role as an artistic director. I have to admit that the program has brought me a lot. For the 2020 edition, we necessarily had to think about its absence, which prompted us to use the parts of the stage normally reserved for the public only. At first the situation worried us because the warmth of the audience is fundamental, but then the absence gave us other options. We worked with what we call ‘reverse’, which is the only thing that is usually behind the main cameras. The reverse shot has become a real stage and gives us the opportunity to create performances that we did not expect. A limit has become an opportunity.

Laccio and Shake, artistic directors at the latest X Factor

Laccio and Shake, artistic directors at the latest X Factor

You mentioned a “cinematic” work with artists, what do you mean? Can you do it even with big names like Laura Pausini?

I’m not a creative who changes artists. I try to get closer to their visions, to their world of belonging. Each of us is connected with colours, tastes, an imagination. The most important thing for an artistic director is to recognize the artist world they belong to and understand how to make the most of their world, without transforming it, otherwise it will turn into creative violence that isn’t always good for you. With Shake we have always worked on the personality of the artists, that is the starting point.

The show design of the Alessandro Vigilante fashion show curated by Laccio

The show design of the Alessandro Vigilante fashion show curated by Laccio

You’ve curated the shows of some of the most important women in the Italian entertainment world, from Raffaella Carrà to Laura Pausini, can you tell us about these experiences?

Raffaella Carrà was a very important person to me, she made it clear to me that I could do this job. When I met her, I was very young and I asked myself: “Why should Raffaella Carrà listen to my suggestions?”. From the moment she started it, I realized this could be a job for me. It gave me a credibility I didn’t expect. I thought: “If Raffaelle Carra listens to me, the others can too”. From there I understood that I could confront the artists and that it was right. Laura Pausini is a discovery every day, she always wants to do better, she always wants to touch the audience, stimulate it, propose new aspects. We still have a lot of work to do.

The tribute to Raffaella Carrà at the Sanremo 2022 Festival

The tribute to Raffaella Carrà at the Sanremo 2022 Festival

You also curated the Maneskin show in America on NBC on Saturday Night Live.

I had met them at the X Factor finale, that was a chance to put on an important show with them. They then called me from America to ask for support for their Saturday Night Live show and I was not expecting it. We were working remotely so I sent hints, ideas, it was not easy to follow them from a distance. But when I saw them live, and saw what we had told each other, it was special. my figure can be basic, but with them it is necessary very little, because they are very good.

Måneskin's choreography for Saturday Night Live on NBC by Laccio

Måneskin’s choreography for Saturday Night Live on NBC by Laccio

What are the differences between a TV show like X Factor and an event like Eurovision?

The difference is that you have to think of a smaller image, as if you had to fill less space on the TV. At Eurovision we work with the whole stage and what’s around it, while on X Factor we were able to isolate the single image. The proportions are completely different. The important difference is also numerical. The regular dance group at X Factor is 10-12 dancers, in the final of the program there were 50 dancers on stage and 500 in the parterre. Also at Eurovision Song Contest we get important songs, with a permanent cast of 40 dancers, to have moments when the number will increase. This is because the warmth of the dancer helps a lot in the performance. The dancer translates the emotion one wants to bring to the stage with an ease that a graphic or other element often lacks. The human aspect, and therefore the eyes, the dance, the body, address the audience more directly.

The Eurovision 2022 internship

The Eurovision 2022 internship

The costumes, the sets, the sets, the music, what role do they play in your creations?

They are fundamental. The balance between these elements becomes an idea and then an image. There must be communication between the different departments and the different professional figures. When everyone gets along, magic is born on stage.

What inspires you?

Contemporary art, high fashion and niche realities undoubtedly offer interesting ideas. The young visual artists, that generation Z, also give me a lot of ideas. Young people dare more and you can really get inspiration from it.

Do you have a style? What do you think were the contaminants that distinguish you today?

I am a lover of architecture, of pure geometric volumes, I always start from there. Those volumes define my works. Perhaps the secret is to always remain elegant, even in situations full of details, even though elegance is minimalism to me. If, even if I am not minimal, I can find a balance, for which others recognize elegance, I am happy.

What were the most important moments for your career?

Working with Paolo Sorrentino and Raffaella Carrà were definitely experiences that changed me. Then you learn something in every project. Sometimes we make fun of ourselves and say, “Nothing more difficult than this can come.” Then comes the next project which is even harder and so we started not to say it anymore. So every time you learn.

The choreography of Laccio The new Pop by Paolo Sorrentino

The choreography of Laccio The new Pop by Paolo Sorrentino

Your ambitions as a child?

I expected to do anything but this job. I wanted to be a vet and then an architect. I started dancing when I was growing up. It was a passion of mine. I never thought it would become a job.

What do you expect from this Eurovision Song Contest 2022?

To show, despite the many difficulties we experience, that we Italians have the ability to do things and do them well. I don’t work for myself, but for a team.

Lasso while dancing

Lasso while dancing

Your dreams for the future?

I never set myself any long-term goals. Life has surprised me and I like to be surprised. I just hope that I can find a balance between my professional and private life.

A tip for the youngest?

You should immediately pack a suitcase and leave. We have to look for opportunities, for connections. It is essential to take courage and act because right now it is not easy and it can be difficult to imagine your chances. So we often stop at some point and are alone and think too long. It is therefore necessary to have the courage to act, dare, write to a person who is a reference for us. It’s not that complicated to make connections. We must insist.

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