All I know I owe it to Frank's screenplay Scardamaglia. After him came other masters, such as Gino Gizzi, Stefano Reali, but as soon as the ducklings hatched, the imprint he gave it to me. 
Da Gino Stefano and I learned an extraordinary amount of mechanisms and secrets of storytelling 
film and television, but what really introduced me to the world of the script was Scardamaglia. Maybe it was just a coincidence in time, maybe the fact that the first lessons 'Italian' course in screenwriting Rai-Script were entrusted to him, after a full immersion with Linda Seger.
An interview with Scardamaglia 
Da Gino Stefano and I learned an extraordinary amount of mechanisms and secrets of storytelling film and television, but what really introduced me to the world of the script was Scardamaglia. Maybe it was just a coincidence in time, maybe the fact that the first lessons 'Italian' course in screenwriting Rai-Script were entrusted to him, after a full immersion with Linda Seger. But it can not be just that. He may have played a role turns out that he had scripted the film I most loved in my childhood, first of all 'We're Mad' which consumed the soundtrack of Brother De Angelis on an old orange mangiadischi. Or maybe the fact that he was to tutor me and Mirco Da Lio for our end of course essay. "Guys, you have to play all at stake," he told us when we presented the bible of a series that we had titled 'A state of the art', "and then put us all you want: the fireworks, aircraft, gunfire , chase sequences, the Nazis. Tutto". Noi lo prendemmo alla lettera e ci mettemmo proprio tutto: dai nazisti agli aerei. Venne fuori un lavoro di cui era soddisfatto e noi orgogliosi. Oggi ho un rimpianto: non aver mai lavorato davvero per lui. Sono sicuro che avrei continuato a imparare.
Ciao Francesco. 
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