About Giordano Rispo

My name is Giordano Rispo, and I was born in Naples on December 5, 2001, under the sign of Sagittarius. I studied classical studies before going to university: I'm enrolled in Communication Sciences, majoring in Cinema, at the University of Naples, and I'll be discussing my thesis soon.

I've worked as an assistant director, always driven by a passion for images and photography. Today, I'm developing independent projects, writing and directing short films and documentaries. One of these is in production and nearing completion: a story exploring relationships between couples, titled 'Io sono io,' starring Francesco Vitiello and Fiorenza D'Antonio.

Standing by the sea helped me understand light and how to use it, to enhance contrasts and bring people into the mix. I took my first photograph when I was ten. I used my cell phone, but I was already dabbling in creative interventions and unusual things. Later I used a Polaroid instant camera and a digital Canon. My parents nurtured me deeply in the arts, with films, books, and theater performances—a beautiful cradle that ultimately fueled my desire to explore with the camera and film. My creativity was always stimulated and exercised. At 18, I was on the set of Paolo Sorrentino's film 'The Hand of God.'' It was my first professional experience, and there I met the set photographer Gianni Fiorito. I was struck by his humanity. On a set where every minute was precious and everything was fast-paced, accelerated, and militaristic, he stopped for a long time to talk to me, influencing me greatly.

The other great masters who shaped my vision are Sebastião Salgado (I saw the film 'The Salt of the Earth' when I was sixteen and then studied all his work). He showed me the power of photography to narrate social issues; then Alan Schaller, who introduced me to the aesthetic side of playing with light; Mimmo Jodice, who left me the poetry with which he seeks out simple things and transforms them into icons; David LaChappelle for his pop style, his multidirectional art; and then many documentary and film directors of photography who know how to create a beautiful union between image and narrative.

I'm drawn to depth, both in photography and in life. Going beyond the surface of things is important to me. When I watch a film, when I take a photo, I linger, I analyze, I don't want anything to escape. I like to imagine the dialogue behind the great photographers' photos, the light they chased, the empathy that shines through in their subjects. Their gaze reveals the connection that existed between them. I'm interested in capturing what isn't noticed at first glance, using shadows to enhance the light, searching for it in the dark. When I grow up, I'll always want to draw a parallel between these two worlds, directing and photography. One complements the other. I want to bring cinema into photography and vice versa.