Don't Gamble Your Life Away: An Interview with Michela Sartori

Please tell us about the projects you worked on before making ‘Don't Gamble Your Life Away’. How did you start, and how did you learn to make films?

My previous experiences are diverse and varied – let me explain. Initially, there's the study aspect, but then there's the practical experience on set. During my early formative years, I participated in numerous short films. I would ask my fellow students if they needed help and I would be on set, observing and learning even from others' experiences.

Subsequently, my journey led me to work as an assistant director for a local TV program. At the same time, I was pursuing personal projects, including a web series, a TV/web format, and short films. The next step was opening my own VAT number (freelance business). I started working for companies, organizations, and associations, and every video, every work experience, filled my knowledge base. I learned from mistakes made to avoid them in the future, developed the ability to assess situations, and became increasingly precise and competent in my interactions with clients.

The wonderful thing about this job is that every video, even one you might think is routine because you've done so many of that type, gives you a new experience and new skills. It's incredible and wonderful.

Tell us about ‘Don't Gamble Your Life Away’. How do you describe it?

"Don't Gamble Your Life Away" was one of the most exciting and daunting projects I've undertaken in recent years. Firstly, due to the authority of the clients – the Municipality of Imola, the New Imolese District, and the AUSL of Imola – you naturally want to give your best and then wonder if your accumulated experience holds everything you need.

Moreover, I like to think it was a project marked by good fortune. I met the actors in May 2024, just a few months before the short film. They had called me to film one of their theatrical performances. I was amazed; their acting was natural, clean, very cinematic. When the film project came about, I had no doubts about them.

The second stroke of luck was meeting Konrad, our Director of Photography and camera operator, an extraordinary young man. Not only in the practical work on set but particularly during the brief pre-production of the short film, the freedom with which I could discuss ideas with him was incredible. He never judged any of my doubts or reasoning – a truly unique individual.

Please tell us about your favorite filmmakers.

My absolute number one is Martin Scorsese and his principle of meticulous preparation before entering the actual production phase. I like to apply this to my own work, even though my projects are at the opposite end of the spectrum compared to his. For example, if I'm hired to film an event celebrating a company anniversary, before the day of the event, I have a meeting with the client, preferably at the venue itself. This is to understand the details of the day, the schedule, the speakers, their positions on stage, etc. This way, everything predictable is thoroughly examined beforehand, leaving only the unexpected to manage.

Second is Alfred Hitchcock and his concept of "suspense." I've tried to apply it in some of my early work, but I still have a very long way to go.

If you were given a good budget, what would be your ideal project?

I've recently realized the kind of story I'd truly love to tell: a true story about a woman from my region (Emilia-Romagna) who has had a complex journey in her working life to emerge and gain recognition. Perhaps she didn't fully succeed and might need someone to tell her story. I'm sure someone like this exists, and I hope to encounter her story sooner or later. From there, the next step would be to turn it into a film.

Describe how you would ensure that production is on schedule. What steps would you take?

I would start with Scorsese's core concept: thorough preparation. This involves an in-depth study of the screenplay and the story; assembling a competent and dedicated crew; and in-depth discussions with the leads of each department – cinematography, set design, costumes, etc. – to ensure everyone is on the same page and understands the vision. This collaborative approach ensures that everything resonates harmoniously.

Furthermore, I would create a detailed directorial plan for the chosen locations and conduct thorough rehearsals with the actors to address any doubts and solidify their understanding of the characters. Beyond these points, which come to mind immediately, a detailed plan for the organization of each workday on set is essential. This includes creating a schedule that aims to finish slightly ahead of the actual planned end date, allowing for a buffer if possible. Because, as I like to tell my clients, "the unexpected is always around the corner," but that's also the thrill and the beauty of this work.

What was the hardest part of making ‘Don't Gamble Your Life Away’.

The most challenging aspect was time and its management. The request to create a video against gambling addiction arrived in July, and the video needed to be ready for a screening on September 5th. It's important to consider that both myself and the clients already had our schedules fully booked, and this video had to fit into our existing commitments.

This involved studying gambling addiction – apart from the name, I knew nothing about this pathology. Then came the presentation of the project in two options; the one that eventually became the short film was chosen on August 1st. The screenplay was written and quickly refined with the clients. Filming took place on August 20th – just one day, initially two days had been planned, so precise scheduling was crucial. The first draft was delivered on August 27th, followed by revisions, and then we were ready for the final version. Staying calm and focused throughout this tight timeframe was both fundamental and challenging.

If possible, tell us about your next work. What plans do you have for your future work?

At the moment, I don't have a specific film project of this nature immediately planned. However, I am continuously seeking new opportunities to learn and grow as a filmmaker. My focus is on staying engaged with the industry, exploring different storytelling techniques, and further developing my skills through my ongoing work with corporate clients, associations, and other commercial projects. I am always open to new challenges and eager to find the next compelling story that resonates with me and that I can bring to life on screen.