Television production isn’t new territory for us –it’s actually part of our DNA. With Alessandro Baricco’s Palamede and, before that, A casa di Lucio [At Lucio’s house], a programme that was originally created to honour the third anniversary of the passing of Lucio Dalla, the singer-songwriter from Bologna, and which later became a prime-time special on Canale 5, we learned how to reinterpret projects into different mediums, capable of inhabiting the small screen. Now we are returning to TV with Walter Veltroni’s primetime show on NOVE, with the strong conviction that when a project is first created, it’s never just what it seems: it is a room with many doors, some ajar, others hidden behind a wall. One must possess the desire to find them, and the vision necessary to open them.
Walter Veltroni’s Le emozioni che abbiamo vissuto – Gli anni ’60. Quando tutto sembrava possibile [The feelings we lived – The Sixties. When anything seemed possible] was born for the stage, made up of words, memories and images woven together before a theatre audience. However, we soon realised there was something bigger within. There was a story that could also live on television, and there was a rhythm reaching for a primetime slot on a national network.
It wasn’t a matter of ‘transferring’ a show. It was a matter of re-writing it in a new language. Of understanding what to keep, what to transform, what to let go of; of framing shots instead of house lights, television silences instead of applause.
This metamorphosis was made possible thanks to the experience we gained behind the scenes of the small screen where, thanks also to our TV production management, we forged deep relationships with the major broadcasters. Knowing their language and needs now allows us tap into a network of esteemed talent and contacts, firm in our belief that quality content always merits the biggest platform possible.
For Elastica, communication isn’t a linear route, but a live ecosystem where everything is interconnected. We are live events, management, media relations and a literary agency: different worlds that, through cross-contamination and virtuous cycles, feed off each other. With this circular model, all aptitudes weave together: an editorial idea can become an event, an oral history can become a TV program and a media report can spark a management project. For us, consistency means direction rather than rigidity: it’s the ability to move a project across different mediums without ever losing its original identity. Because a project doesn’t end once the curtain falls, it lives on until we’re able to look at it for long enough that we see everything it could become.
