Last Projects


cartaio because I haven’t been in Rome for the past year, really. I knew about Occhiali neri [“Black Sunglasses,” an- other planned Argento project] mainly because Dario and Lamberto always get together at Christmas. It’s a tradition. I’m always meeting Dario on a family basis, so he never mentioned movies to me, apart from the ones he had recently seen and liked. It never ever got around to, ‘Why don’t you come and work for me?’ or ‘Why don’t you ever ask me to work with you?’ Then, out of the blue, he called me. I asked when we had to start and he said, ‘Monday.’ There was so much to do! The first time I met Dario for this movie, we met in Tomaso Calevi’s office, and I was expecting to go though the schedule. But no! I was whisked off to Franco Ferrini’s house to help alter the script. I was really impressed by that, as I didn’t expect to become so creatively involved so quickly! But [Dario] really valued my opinion and that was a great feeling. One of his great- est qualities is that he gets you so in- volved and inspired you want to do the best for him.”


Asked to describe what he found


most exhilarating about working with Argento, Roy says, “There are so many things about him, but mainly, he’s a true genius . . . I can’t tell you how many times we’ve had hour-long phone conversations after a hard day on location. He’s this mine field of ideas, creativity and possibilities, and he loves talking them all through to energize and get you on the same page as himself. That’s the best way of working and I appreciate that so much. As a person, I see Dario as part of my family. Working with him in such close quarters, I feel our emotional connection in a way that goes beyond the work ethic. That’s important to me and it makes my job feel less like work. The worst part is that he’s not easy to work with. He changes so mercuri- ally . . . but that can be fun, in a weird way. Many people in his crew, who he has worked with before, know they must be as elastic as possible with him. Anyone who has rigid views and working methods and looks at the


9 Roy Bava interviewed by Alan Jones, April 2003.


All quotes from Roy Bava in this section are from this interview.


10 Georgia Bava, interview by the author, June 21, 1999.


clock are not the best people to sur- round him. He’s an organic director and this poses many problems. I struggle to try and make people un- derstand him, and that takes a lot of effort. Sometimes we aren’t rowing in the same direction and it’s my job to make sure everyone is pulling their weight. You can’t work with Dario with your handbrake on; you have to go with the flow. He told me once that fun was something you had at the sea- side and on holiday—not while you’re making a film! It’s stressful, but you know that going in . . . I had similar difficulties with my father. [Sometimes I would wonder] ‘Is he mad at me be- cause I’m his son and I’ve let him down, or is he just mad at my job de- scription?’ It’s a hard call sometimes. It’s usually because he’s pissed off with someone else and you are in the closest range; it’s nothing personal. I’m Dario’s shield. Confrontation is al- ways the best way, though; don’t let things simmer. Dario knows it’s my job to assist him in bringing his vision to the screen and fights come with the territory. We are comfortable with each other and that’s important.” Roy also cites an interesting ex- ample to show how close his creative bond with Argento has already be- come: “I won’t do second unit direct- ing now, if I’m the first AD. It’s too hard. But the other day, we had three hours to achieve twelve shots because traffic had caused some equipment de- lays. So we filmed different scenes back-to-back, together. At one point, we called ‘Action’ at exactly the same time. I would only do that for Dario— not even for my father!”


Roy’s ease at communicating in English helped Il cartaio to become the most naturally and convincingly spo- ken of Argento’s many attempts at En- glish-language filmmaking, and the film itself turned out to be Argento’s most effective effort since Lamberto Bava was serving as his assistant in the early 1980s. Roy is presently re- garded as one of the top three assis- tant directors in the Italian film indus- try, but he downplays any suggestion that he should become a director in his own right, as Eugenio, Mario, and Lamberto did before him. “Perhaps I will become a full time director one day,” he allows, “but the only things I’ve been offered so far have been TV


movies. I prefer film and want to be part of a meaningful production. I’m always asked to be the Italian First AD on any big American movies that come to Italy. I turned down Gangs of New York because I didn’t want to be in the situation of arguing with the American AD crew. That’s not chal- lenging to me at all. Often, saying you are a director in Italy means that you are really unemployed. I can’t afford that. It’s not your film debut that’s the problem, anyway. Most people have one film in them, but what about the second and third, when artistic ex- haustion sets in? I don’t want to put myself in that position. It’s a tough profession.”


In addition to inheriting Mario’s personal library, Roy also inherited his grandfather’s devotion to reading. “I have a passion for literature and that came from Mario,” he confirms. “He read so much, often a book a day. His thirst for knowledge was contagious. Often, after a long, hard day’s shoot- ing, he would stay up until 3:00 in the morning—reading. It relaxed him and nurtured his soul. When I worked on a film with the rock star Luciano Ligabue, it was a tough movie, filmed at night in the summer. But even though I didn’t finish until 5:00 in the morning, I would still need to read for a few hours to calm myself down. That’s Mario’s fault!”


Roy lives in Rome in a church un- der the second largest dome in the city. A spiral staircase of forty-two steps leads up to the apartment that Mario secured for his grandson when Roy was still a child, in 1974. In the living room, surrounded by some of the origi- nal frescos which the entire Bava fam- ily helped to restore, hang two pieces of framed art by Mario Bava. One de- picts the temptation of St. Anthony, and the other is an original drawing that reflects how Mario saw the pro- tagonist of a book he had daydreamed about optioning and turning into a movie: The Hobbit. It seems that Roy Bava has lived well by the three rules for happiness once proposed to him by his grandfa- ther. Not yet 40, he has already trav- elled widely, been married and divorced, and isn’t at home often enough to keep a pet. His appearance in the Mario Bava Maestro of the Macabre documentary shows him to be articulate, charismatic,


and undaunted by the prospect of public appearances. His grandfather would be very proud of his talent, his personal charm, and his lack of personal or professional inhibition.


Mario Bava’s wife, Iole, survived her husband by more than a decade. Ac- cording to Roy, whenever he visited his grandmother in the years after Mario’s passing, she broke into tears at the sight of him, crying, “You look so much like your grandfather!” She died on July 7, 1994, at the age of 79. “It happened very suddenly,” de- scribes Georgia Bava. “She wasn’t sick at all. She was alone and had a very high temperature, and she thought something might be wrong with her heart. She called my father and my aunt and asked them to meet her at the hospital. By the time they arrived, she was dead. The official cause was given as meningitis.” 10 Mario and Iole were not buried to-





gether, nor close to one another. Mario’s repository (lot 4951) at Prima Porta has two distinguishing charac- teristics. The first is a medallion- shaped bas relief displayed to the left of his name that depicts Eusebius Sophronius Hieronymus (347 – 420 A.D.), the Biblical translator canon- ized as St. Jerome. Georgia Bava re- members that the piece occupied a place of pride on the balcony of her grandparents’ home at Via Valgardena 3 for as long as she can remember, but she never questioned it and its provenance has been forgotten. The artist of the carving was possibly Eugenio Bava, who was of course known as a sculptor of Saintly sub- jects. Its relevance to Mario may be purely sentimental, or a nod to his passion for collecting books, as Hieronymus was later named by the Roman Catholic Church as the pa- tron Saint of translators, librarians and encyclopedists. Hieronymus was also responsible for a quotation sug- gestive of Bava’s own work credo: Be ever engaged, so that, whenever the Devil calls, he may find you occupied. The second point of distinction is


that the repository is not adorned with the traditional photographic plate. In death, Mario was indulged by his fam- ily with the anonymity he always craved.


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