The goal is an Italian Super Bowl

Emanuele Cristofoli, aka Laccio, official choreographer of Eurovision 2022 and artistic director of Laura Pausini in co-directing the event, tells Fanpage.it the details of his shows.

Laccio and Laura Pausini on stage at Sanremo 2022

Emanuele Christofoliin arte Top, is currently one of the most sought-after choreographers and artistic directors. During his career he has curated the performances of Raffaella Carra e Laura Pausini. He was the artistic director of the last editions of X factor. He did the choreography of moonlight for the Saturday night live on NBC, for the miniseries The new pope and movies you 1 e you 2 out of Paolo Sorrentino. Today he is the official choreographer of the 66th edition of the Eurovision Song Contest and as Artistic Director of Laura Pausini’s shows in co-directing the event. Fanpage.it interviewed Laccio to find out the details of the performances he curated at Eurovision 2022.

Emanuele Cristofoli, aka Laccio

Emanuele Cristofoli, aka Laccio

Choreographer, dancer, artistic director, you have played many roles, how would you define yourself?

I define myself as creative. I like to think and modulate things based on situations: sometimes a scenography can be used, sometimes a choreography. Our world is so big that it can be difficult to have a single definition. I like looking around, creativity is the basis of many things.

The Eurovision 2022 stage

The Eurovision 2022 stage

What does it mean to be creative today?

Would definitely be a solution. It happens that people do not have the ability to concretely imagine their thoughts: they often have an idea, a desire. This desire is made concrete with the help of people like me who have the ability to visualize an idea and turn it into an image. Perhaps the performer wants to transmit energy on stage but doesn’t always know the codes to bring energy to the stage. I help find these codes through a world of graphics, choreography or costumes. They are all languages ​​that communicate with each other. The goal is to create balance on a stage, not confusion.

Laccio and his Modulo Factory team

Laccio and his Modulo Factory team

What are the stages of the artistic development of a performance?

We start from a basic idea that storytelling must have. Even a simple performance needs to send a message. From there we work on mood boards, brainstorm ideas and start drawing, planning the scene. When it comes to live shows, an internship comes to mind. The process is usually the same: trying to imagine what the end result will be like, that’s the image you’re looking for. Everything gives a picture.

You ran X Factor during a pandemic, was that more of a constraint or an opportunity? Can you share the experience with us?

I worked a lot before X Factor, but this program cemented my credibility and role as Artistic Director. I have to admit that the program has given me a lot. For the 2020 edition we absolutely had to think of absence, which led us to take advantage of areas of the stage normally reserved for the public only. Initially, the situation worried us, because the warmth of the audience is fundamental, but then their absence gave us other options. We’ve been working with what we call “inverted,” which is usually anything that’s behind the main cameras. The inverted recording has become a real stage, giving us the opportunity to create performances that we did not expect. A limit has become an opportunity.

Laccio and Shake, artistic directors of the latest X Factor edition

Laccio and Shake, artistic directors of the latest X Factor edition

You talked about doing a “cinematic” job with artists, what do you mean by that? Can you do that with big names like Laura Pausini?

I’m not a creative who changes artists. I’m trying to get closer to their visions, to their world of belonging. Each of us is associated with colors, tastes, an imagination. The most important thing for an artistic director is to recognize the world of artists to which they belong and to understand how to get the best out of their world without changing it, otherwise it becomes a creative violence that you can’t always good. At Shake we’ve always worked on the personality of the artists, that’s the starting point.

The show design of the Alessandro Vigilante fashion show curated by Laccio

The show design of the Alessandro Vigilante fashion show curated by Laccio

You’ve curated the shows of some of the most important women in Italian entertainment, from Raffaella Carrà to Laura Pausini, can you tell us about those experiences?

Raffaella Carrà was a very important person for me, she made me understand that I could do this job. When I met her I was very young and I asked myself: “Why should Raffaella Carrà listen to my suggestions?”. From the moment she started I knew this could be a job for me. It gave me a credibility I didn’t expect. I thought: “If Raffaelle Carra listens to me, the others can too”. From then on I understood that I could have a confrontation with the artists and that it was right to have them. Laura Pausini is a discovery every day, she always wants to improve, she always wants to meet the public, stimulate them, propose new aspects. We still have a lot to do.

The tribute to Raffaella Carrà at the Sanremo 2022 Festival

The tribute to Raffaella Carrà at the Sanremo 2022 Festival

They also curated the Maneskin show in America on NBC on Saturday Night Live.

I met them at the X Factor finale, it was an opportunity to create an important show with them. They then called me from America to ask for support for their Saturday Night Live show and I wasn’t expecting it. We worked remotely so I sent hints and ideas, it wasn’t easy to follow them remotely. However, when I saw them live and I saw what we shared, it was special. My character can be basic, but with them it is very little necessary because they are very good.

Måneskin's choreography for Saturday Night Live on NBC by Laccio

Måneskin’s choreography for Saturday Night Live on NBC by Laccio

What are the differences between a TV show like X Factor and an event like Eurovision?

The difference is that you have to imagine a smaller picture, as if you have to take up less space on the TV. With Eurovision we work with the entire stage and what surrounds it, while with X Factor we were able to isolate the individual frame. The proportions are completely different. The important difference is also numerical. The permanent dance company at X Factor consists of 10-12 dancers, in the final of the program there were 50 dancers on the stage and 500 on the ground floor. Also at Eurovision we will have important numbers, with a permanent cast of 40 dancers, to then have moments when the number increases. This is because the dancer’s warmth is very helpful in the performance. The dancer translates the emotion one wants to bring to the stage with an ease that a graphic or other element often doesn’t have. The human aspect and with it the eyes, the dance, the body speaks more directly to the audience.

The Eurovision 2022 internship

The Eurovision 2022 internship

The costumes, the sets, the sets, the music, what role do they play in your creations?

They are basic. The balance between these elements becomes an idea and then an image. There must be communication between the different departments and the different specialists. When everyone gets along, magic happens on stage.

What inspires you?

Certainly contemporary art, high fashion and niche realities offer interesting suggestions. The young visual artists, Generation Z, also give me a lot of inspiration. Young people have more courage and you can really draw inspiration from them.

do you have a style In your opinion, what were the contaminations that characterize you today?

I’m a lover of architecture, pure geometric volumes, I always start with that. These volumes define my works. Perhaps the secret lies in always remaining elegant even in situations full of details, even if elegance for me is minimalism. If, even if I’m not minimal, I find a balance that others recognize elegance for, I’m happy.

What were the key moments in your career?

Working with Paolo Sorrentino and Raffaella Carrà were definitely experiences that changed me. Then you learn something new in every project. Sometimes we make fun of ourselves and say, “Nothing harder than this could come up.” Then comes the next project, which is even more difficult, and that’s why we started not saying it anymore. So every time you learn.

The choreography of Laccio The new Pop by Paolo Sorrentino

The choreography of Laccio The new Pop by Paolo Sorrentino

Your wishes as a child?

I expected everything except doing this job. I wanted to be a veterinarian, then an architect. I started dancing when I was growing up. It was a passion of mine. I never thought it would turn into a job.

What do you expect from this Eurovision 2022?

To show, despite the many difficulties, that we Italians have the ability to do things and do them well. I don’t work for myself, but for a team.

Lasso while dancing

Lasso while dancing

Your dreams for the future?

I have never set long-term goals. Life has surprised me and I like to be surprised. I just hope that I can find a balance between my professional and personal life.

Any advice for the younger ones?

You must pack a suitcase and leave immediately. We need to look for opportunities, look for connections. It is important to take courage and act because right now it is not easy and it can be difficult to envision opportunities. So often we stop at one point and are alone and thinking for too long. It is therefore necessary to have the courage to act, to dare to write to people who are a reference for us. It’s not that complicated to make connections. We have to insist on.

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