Gabriele Tinti, a 40-year-old Italian writer (originally from Jesi) had the audacity to address Kevin Spacey, to convince him to make a return to what Spacey does best: acting. Rolling Stone Italia has reached the Italian poet who is now spoken from one side of the Atlantic to the other to better understand how this collaboration was born. Read the following interview to discover more about Gabriele Tinti and his experience with Kevin Spacey.

The question is as trivial as it is capital: how did you convince Kevin Spacey?

I’m usually very direct. I sent him an email making my work talk. And then he was also struck by a statistic I had attached, according to which usually the average user of works of art, in particular statuary, remains attracted for 10 to 15 seconds. Very little. So even Spacey must have been intrigued, as a lover of culture as he is, because this work makes the work come alive and keeps the viewer glued, not for a few seconds but for the duration of the performance. In this case the Boxer at rest. The poem, like others contained in the volume Rovine, was not written for Kevin Spacey but inspired by statuary art. This work is particularly interesting because fragments or parts are usually found, but the boxer was found intact. But even in this case something was missing: the context. And then the actor compensates for this nostalgia with voice and interpretation.

How did you find Kevin Spacey after almost two years of absence from the scene?

Very well. He is a generous person. He gave himself completely to the project, he committed himself with great dedication. And then I saw him serene, with a psychological and philosophical serenity. It was not possible for him to leave the scene, he is an indelible icon of international cinema. He immediately appreciated the courage and the particularity of my proposal. He put in collaboration an unexpected intensity of participation, testifying to the great artist he is. There is no doubt that he is one of the greatest living actors. For me it was an honour to have accepted to read my verses, being able to entrust them to him and being able to hear them resound in his voice was a privilege.

I take this opportunity to ask you in what state poetry is. One day it seems extinct, another creates exciting moments like this.

First you need to have something convincing on your hands. There are many poets, but most would do better to stop. Then everyone is free to do what he wants, sometimes it’s a liberation and others it’s a condemnation. I, then, draw inspiration from the statuary work as often happened in the past, for example Goethe and Schiller or, on the contrary, Bernini, who referred to literary sources for his sculptures. For me it is important to have an actor who expresses what I write. But this poet-actor separation has been around for more than two thousand years. Originally the poet was the one who wrote, sang and played, but already the Greek tragedians had begun to write for the actor, for the performance. There had been a dissociation. The poet was no longer the one who represented what he wrote, the arts separated between poet, musician and acting. So today, more than ever, we need someone to interpret the verses.

Source: Rolling Stone Italia

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