Eleonora Andreatta, better known as Tinny, has always been a staple of Italian textual content production. As head of drama at pubcaster RAI, she ushered in a new era by commissioning global hits like RAI/HBO’s Elena Ferrante titled “My Brilliant Friend.” At Netflix, which she joined in mid-2020 as Vice President of Italian Assets, Andretta oversees the directing of original non-scripted series, films and shows in the country where the streaming giant is on track to reach five million subscribers as it steadily increases investment.
Ferrante’s latest adaptation, “The Lying Life of Adults,” is set to premiere on Netflix January 4. The series represents the most ambitious Italian project in streaming under Andreatta’s watch.
“Lying Life,” by Neapolitan director Eduardo de Angelis (“Indivisible”), stars Valeria Golino as the gruff, mysterious Neapolitan aunt of the story’s young protagonist, Giovanna (played by newcomer Giordana Marengo). It depicts Giovanna’s transition from childhood to adolescence during the 1990s in a Naples that is in fact two clan cities that fear and hate each other: the upper crust of Naples in the upper boroughs, where a mask of sophistication is worn, and the Naples of its most vulgar and sexy low places where her intriguing Aunt Vittoria lives (cf. clip propaganda below). The kinetic show is full of music, Neapolitan color, and female growing pains.
As she prepared to set off for Rome, Andretta sat with diverse For the first time since she joined the operator to talk about how Lying Life reflects her vision for Netflix’s production of Italian originals.
This is a strong show. How does it fit into your vision of Netflix?
Certainly, as I said, this series represents the kinds of stories that we want to draw from Italy. That’s because one of the elements we look for is cultural proximity. The need to portray Italy, its deep nature, strong cultural identity and temperament, the uniqueness of this country. One aspect that makes Italy unique is its great diversity of cultures and languages in its different cities and regions. Certainly Ferrante with her novels created a world that, in a broader sense, is the Neapolitan world told with strong contrasts. It’s a very exciting world, and on top of that, it’s one that’s often made up of strong female characters. Controversial personalities who are represented not only in their positive aspects, but also in their flaws and shortcomings. Sometimes in their unbridled freedom, which is also a controversial aspect.
What do you think distinguishes the “false life” from the “brilliant friend”?
Above all, this story is set in the 90’s. The fact that Ferrante chose a specific moment in the lives of her female characters. “My Brilliant Friend” takes place over the course of several decades. It is a story that also depicts the social development of the country through the friendship of two girls. In my opinion, “The Lying Life” is a story about specific and extraordinary rites of passage and resistance. The one in which you move from childhood to adolescence and adulthood. More precisely, it is the transition in which all your ideals are tested. lose the illusion that your parents are perfect; that your family can protect you from any danger; That the golden world in which you are surrounded is the whole world. And you want to explore new frontiers, new places, and you’re going to get hurt, too.
So, in my opinion, this story really speaks to what we address when we talk about Italian storytelling. Hand finding stories that can only happen in Italy. On the other hand, understanding how the characters’ humanity speaks to the world at large.
How do you see the role of Netflix in Italy?
“The Lying Life” is definitely a milestone. At the same time, the content we offer in Italy is very diverse. Different types of projects that cater to different audiences. We want all of our subscribers to find something that makes them feel represented. Something in which they see their own need for entertainment as both challenging and satisfying. The show we are looking forward to presenting responds to the different storytelling needs each of us has.
My impression is that you have a two-pronged approach: a domestic product and an international one. Is this true?
I don’t see it that way. What always impressed me, even before working at Netflix, was the fact that Netflix had broken some “unbreakable taboos” that had lasted for decades, maybe a century. One is the issue of language and dubbing. What I mean is the fact that they also describe the software in English has overridden the previously existing principle that product mainly flows from the US to the rest of the world. That perspective is reversed and suddenly a world of storytelling opens up where you can create a story that captivates a global audience from anywhere in the world. For me, this is a revolution. It’s even, if you will, one of the reasons I’m drawn to working at Netflix as a commissioning editor.
So our motto is to continue working to increase the level of quality. It is not an abstract concept. It is a job that is done daily in every aspect of production. Trying to choose the best concepts and projects, and then working so that you can focus on the director’s vision and trying to accompany this vision to achieve a project with the best possible team.
Well, but obviously there are series like “Lying Life” and “The Leopard” that she announced as likely to travel and others like “Strappare Lungo i bordi” and Zerocalcare’s “Tutto chiede salvezza” that are some of the best local shows.
This is correct. There are genres, like comedy, that are perhaps more difficult to export. But some phenomena with which you can cross the border. In my opinion this can happen across all genres which is why Netflix has the stage open. Netflix serves 190 countries and provides access to languages. So it’s a stage where I also expect a variety of Italian titles to play precisely because they are excellent.
What are your most emblematic projects in the pipeline?
One of our most ambitious projects is definitely ‘The Leopard’. [a series adaptation of the classic Sicily-set novel by Giuseppe Tomasi di Lampedusa]. Recently, we announced that we are making a new film by Ferzan Ozpetik, “Nuovo Olimpo”. We are particularly interested in the director’s unique vision and we are also convinced that our show is a dialogue with the audience and therefore there are no individual projects that do not engage in dialogue with others. [in our slate].
In general, our representation of Italy is one of those situations where you want to go against the grain, break some taboos and tell the unknown sides of this country. They are very much based on true stories, or adaptations from great novels and movies because that is a way of telling the story of the country. And of course, controversial true storytelling, too. “super sex” [a series inspired by the life of global porn star Rocco Siffredi] is definitely an unexpected tale about an anti-hero, a major porn star. But we tell it from the point of view of the writer, Francesca Manieri, in a story that has the structure of a social melodrama. Another allegory rooted in reality is “Lidia Poët” (title) about Italy’s first female lawyer, who was expelled from the bar in 1880 as a woman. And we’re doing it with a star, Matilda de Angelis, that allows you to explore the theme of female empowerment, but in this case doing it with a light touch, in Turin, which was a city of both positivism and glamour. , There is also this rich world being revealed.
Talk to me about your documents.
In Italy, we do not have a strong tradition when it comes to investigative documentaries dealing with a controversial topic. With “Wanna” we dealt with a controversial figure [Wanna Marchi, a TV saleswomen involved in a multi-million euro scam] Without a prior opinion, but trying to describe a situation from different points of view regarding that story. The audience is allowed to make their own judgment. I find this kind of storytelling very interesting and modern and I think it complements the kind of country storytelling that we’re doing. Of course we now have this new project which is “lI Caso Alex Schwazer” which we are going to drop during the first part of next year and where we are dealing with a very complex story about sport and doping but at its core the eternal and wonderful human being, a dilemma between good and evil.
Then there’s your first reality show “Summer Job,” based on an original format, featuring a bunch of spoiled Italian brats..
I strongly disagree. I want to be fair. What “summer work” reflects is a very interesting reality in Italy where you sometimes have guys in their 20s across all social classes who are overly protective of their parents. What we are dealing with is a group of young people who are not used to taking responsibility. Or having to work to get what they want. But they are not all spoiled rich kids. Some of them are not particularly wealthy, they are the children of the first or second generation of immigrants. They are all so protected by a cloak that they need to assert themselves in a process that can be an education in enjoyment.
Are you happy in your new(ish) role?
I want to tell you something. Soon after he came from a major local player [RAI], at Netflix, I attended a meeting with other global CEOs that was a revelation to me because there is networking within the industry across all the other countries. Being able to meet the people responsible for the production in different countries and discover how the needs of the story, beyond the cultural diversity, are actually very similar, was eye-opening. I put this group of executives in a room and five minutes later we’re all talking like it’s something personal, about narrative structures and characters. About our relationships with talents, our common difficulties. We have common goals within a very unique vision which then becomes diverse.
Because if we want to be original, we are told that our culture is different in every country. But in fact, what you need to create a good story is very similar everywhere. So the level of learning from this perspective is the level of openness and intelligence regarding new perspectives. From solutions that come to you unexpectedly. It is an experience that I consider exceptional. I did not expect it to be so wonderful and important for my career growth. I think this closeness and connection between all countries is somewhat unique. Not all companies are like this.
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