If making movies and travel are things that excite you,
then you will be positively smitten with envy when you hear about the
ex-Cape Town boy who grew up in Green Point, went to Italy where he
helped make a movie, did another and has spent the last 18 years living
in Rome, hobnobbing with some of the most famous names in cinema,
designing wardrobes for movies and travelling “from Kirghizstan to
China, to Mongolia and back to Argentina”.
Despite what most people would regard as a prodigious success, Paolo
Scalabrino is surprisingly modest, quite nonchalant and matter-of-fact
about his work and his achievements.
“I’m just one of those who is working at the moment … perhaps a
little more than others and that’s all there is to it.
“As you can imagine, your best movie is your last one and whatever
came before it has very little importance.”
While his schoolmates at CBC were playing rugby, Paolo was already
showing his natural talent and prowess in clothing design, making all
the costumes for the supporters at inter-school matches.
When at the Cape Town School of Fashion and Design, Paolo won a
scholarship to study at the Italian National Academy of Fashion and Art.
During his apprenticeship years he worked for designers such as
Valentino, Lancetti and others, but he soon realised that this was not
exactly what he wanted to do, although he still had no clear idea of
where he saw his future.
It was then that he had an opportunity to be involved in a movie - a
film by Nina Wertmuller - in which he was a voluntary help.
“It turned into a great experience for me and I decided that this was
my way.
“I rather enjoyed the idea of a movie with a theme - something that
you worked on.
“As in this particular case, as a costume designer you were not
exactly someone who designed clothes only - you designed a character to
bring out the psychological background of a person, and you dressed him
or her from there, helping to create a personality, through clothes,
make-up and hairstyle, whatever the case might be.”
The Wertmuller film was the beginning of a burgeoning career.
Soon afterwards, he did the costume design for the movie, Bloodline,
starring Audrey Hepburn, James Mason and Omar Sharif.
He says that he thought he was “just lucky” and that it might have
been just a flash in the pan, but that it turned out to be only the
beginning.
As an assistant director, Paolo toured the world in making first this
film and, later, others, the only problem being that his South African
passport at the time prevented him from entering countries like
communist China.
“The last seven years have been fruitful. I have happily toured the
world, dressed big names and made nice movies.”
Paolo has just recently finished working in northern Morocco on a
Claude van Damme film called Legionnaire, a 1925 costume film, “one of
the few movies in which Van Damme doesn’t karate anyone down and
actually acts”.
Before that, he worked on the Jean-Jacques Annaud film, Seven Years
In Tibet, starring Brad Pitt and which is due to be released in South
Africa early next year.
Paolo’s old school friend Eddy Cassar phoned him from Cape Town one
evening and was told: “You won’t believe who has just left my
apartment!”
It was Liza Minnelli.
“Liza was doing a show in Munich - we were there and I had a large
apartment and we were going to have one helluva spaghetti party.
“Everyone was going to bring their own sauce and we had huge pots
with the basics …
“It wasn’t only Liza Minnelli, but everybody else I had met before as
well.
“And there I was, this little guy from Cape Town going ‘I don’t
believe it! I don’t believe what I am seeing!’ They were all there from
Audrey Hepburn onwards …
“There were three movies which I loved in my life - one was My Fair
Lady, which was very amusing. Zorba The Greek was another and Lawrence
Of Arabia was a great movie in which I worked with Audrey Hepburn, Irene
Papas and Omar Sharif … I didn’t know where I was!”
Paolo also worked with Robert de Niro on The Mission and the series,
Mama Lucia, with Sophia Loren.
One of his biggest projects was Cutthroat Island, a $110-million
movie with Geena Davis of which he says “although not a bad movie,
flopped all over the world”.
Projects like these take a year to 15 months at a time, says Paolo,
and from a costume point of view are incredibly demanding.
“You start off with basic white fabric and you have to make 2 500
costumes … you don’t find all the material on the market.
“You dye your fabrics, you age them, you re-dye them, you have them
cut, you make them up and then you re-take them in your hands, you re-
break them down and eventually they get onto some extra’s back after
they have been through 12 processes … and it has taken you six or
seven months to get there.
“When I come off a film like the last one, shot in the Moroccan
desert where it was 45 degrees most of the time, I dream of a movie on
the French Riviera, of a couple making love in a closed room.
“They have a sheet on them (and even that’s not my problem - that’s
props) and they open the window once and there are 18 passersby who are
in modern gear!
“That’s my dream! But it’s never gonna happen!”