FILMOGRAPHY:
01 INSIDE NAPOLI VOL. 1
02 INSIDE NAPOLI VOL. 2
03 INSIDE NAPOLI VOL. 3
04 INSIDE NAPOLI VOL. 4
05 VIAGGIO NEL TEMPO VOL.1
06 VIAGGIO NEL TEMPO VOL.2
07 VIAGGIO NEL TEMPO VOL.3
08 VIAGGIO NEL TEMPO RIED.
09 CONCEPT BY SALIERI VOL. 1
10 CONCEPT BY SALIERI VOL. 2
11 NAPOLI-PARIGI VOL.1
12 NAPOLI-PARIGI VOL.2
13 BRIVIDO AL SOLE
14 DISCESA ALLŐINFERNO
15 POTERE
16 ROMA CONNECTION
17 TUTTA UNA VITA
18 SCENEGGIATA NAPOLETANA
19 ARABIKA
20 LA LUNGA NOTTE DELLA PAURA
21 ADOLESCENZA PERVERSA
22 EROS E TANATHOS
23 DRACULA
24 CONCETTA LICATA VOL. 1
25 CONCETTA LICATA VOL. 2
26 CONCETTA LICATA RIED.
27 I RACCONTI IMMORALI DI M.S.
28 STUPRI GALLERY
29 CKP
30 IL MISTERO DEL CONVENTO
31 SCUOLE SUPERIORI
32 DIRITTO D'AUTORE
33 LA CLINICA DELLA VERGOGNA
34 CONCETTA LICATA III
35 VOYEUR GALLERY
VI PRESENTO MIA MOGLIE
CASINO'
VI PRESENTO MIA FIGLIA
INGENUI TURISTI NELLA SPIRALE DEL VIZIO
VACANZE A RIMINI
ROMA CONNECTION
LA LUNGA NOTTE DELLA PAURA
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BIOGRAPHY:
Mario Salieri artistic activiti started up in Amsterdam...
When I decided to start to work in this field, I decided to do it
starting producing pro-am movies, and since Amsterdam
it was a city that I knew very well I published some ads on any
daily newspapers looking for private couples that i could film, rewarding
them with an economic remuneration.
And then i begun to produce the first "private video" that then
we distributed in Italy.
My formation obviously happens to start in the marketing field, before
to start to work in the cinema because clearly i have taken care of other
things: from the auto concessionaires manager, to the designer of furniture.
All experiences that have allowed me, in a certain sense, to
have a general acquisition of marketing that then was very useful in the
management
of my firm when I decided to work in this sector, hard core.
I retain surely necessary that in anything someone does, there are
inspiring bases. My inspiring one is mainly that of the
great American hard, developed during the mid-seventies and particularly
the american movies in 35 millimeters with big budgets and also
employment of big technical means.
If we then want to go in details about the directors, then for sure there
are two that have inspired me and they are Alan Vidra and Gerard Kikoine.
They are two big european
directors Europeans that often work also with big American productions
and that
today they are concerned with some other stuff.
They are surely two folks that have
represented a reference in the sector of the pornography.
My movies does reference to the tradition of the italian neorealism.
We, as hard directors, are not real movie directors, but still we're more
precisely artisans.
The artist has the
possibility to use his fancy as, where and when he likes, without any
kind of limit and expecially without any kind of problem.
We artisans of
the sector, like so much other
artisans,
artisans that operate in traditional cinema, are forced, between quotation
marks, to offer the audience something that we know the audience likes.
Then, if we give a
look to the italian traditional cinema
we see that the "maximum shine", the golden time, has been the neorealist
time.
I want to offer a very simple language, very close to the neorealist style.
That's it.....
It's like if i would tell to the audience:
"Please make attention; what I'm proposing you is a naive product, take it
for just what it is, don't pretend to find any hidden particular meaning out
of it."
Therefore, for me my product is a neorealist one, in the sense that I tell
stories to the people
with a big humbleness and with great simpleness, offering a very clear
message, precise,
so that everyone could identify in it without having big problems in
doing so.
The double keys of reading of my films
My films have always a "double reading key"; the first is a very simple
one, easy to understand for everyone, and then another one, much more
tangled up,
that usually no-one notices or even understands, cause the consumers of
this kind of products aren't into it at all.
And they don't even notices the fine chiseling, a thing that interests and
emotionates me in doing it.
For example
in "Concetta Licata" there's a clear denunciation and attack against the
state of things of italian society today.
Nobody has noticed that behind
the desks of the public employees, like the jail manager, in an epoch
coincident with the 1989, there's still the image of the President Giovanni
Leone (long gone, at the time, and a very bad example of a president, a
some kind of grotesque and ridiculous "Little Brother" - ndr)
I do not pretend anybody notices it and realizes what does it means, but, at
least they satisfy me!!
The same happens in "racconti immorali" and in "stupri gallery".
Let's go to the point: The concept of pornography.
From a certain point of view, the filmic language of the porn is
characterized
from the presence of the evidence of intercourses, with no veiling.
From a social point of view, instead,
"pornography" could be associated to some rotten aspects of our daily
life.
Is a term wich meanings have diverged. I refer to the widened concept of
pornography that includes the obscenities (of everyday's life).
Obscenity and pornography are two very different facts.
Pornography is a kind of language that from
a long time has been used to label
images, drawings, comics, cartoons, films, where the genitals of people
involved in the sex action are well in evidence.
This is the original meaning of it, from which we would not fool ourselves;
if we want to consider porn an ugly thing,
then we shoul say that "pornographic" is also the politics in our country
and also the
social structures of our country. In this way the term "obscene" would be
much more connected to the original concept.
E. you difference between porn and erotic cinema.
The difference of the meaning, seen in terms of the finished product, is
that in porn the director is in a way forced to show the genitals.
In doing an erotic feature, we're not forced in showing them off.
But for me the most impressive difference is that erotica can be made with
actors and actresses of conventional to great artistic qualities, instead when
you do an hard core movies, you have to work with who's available at the
moment.
When you have to display them in 4 or 5 different positions, then that's
quite easy to do. On the contrary to try to represent some kind of erotic
and morbid situations on screen, using an hungarian starlet, well, that's
quite impossible!
Certain times, the realization of one of my scenes, employs eight or nine
hours straight, because
the composition of my hard core scenes is not only based on a
shot of genitalia, but from a whole situation of lights, details, also of
gestuality.
My movies are hight quality ones.
It's obvious that i could follow the typical scheme of lowering the buget to
arn more, but this is not my style.
By now i've got my own audience that follows my and my products from
many years back. That's the reason for i increase the budget for every new
movie, in order to offer to the customer a very good quality, at the best
possible!!
It's quite a bit of time that my bigger desire is to leave the porn industry
to go up towards the erotica cinema, and i hope to do it as soon as possible.
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