As a personal point of view, I believe the study of Physiognomy is fundamental to my job.
Physiognomy is the ” assessment of a person’s character or personality from their outer appearance” .

From the Renaissance, after a medieval hatching, Physiognomy becomes the mother of all western philosophies, creating a real cultural split between Western and middle Eastern thought.

Starting from the basic principles of the seven ” liberal arts” (Grammar, Dialectic, Rhetoric, Geometry, Arithmetic, Astronomy, and Music), Physiognomy becomes a philosophic basin of knowledge and spurs that originate modern science and art, oriented in the study of the human relations.

Physiognomy is not an exact science, but the “Muse” of all of them.

Hereby, it should not be regarded as an aberration of the aesthetic analysis endash the dangerous and restricted ones told by Lombroso – but as a form of philosophical and artistic research that needs a development and growth of thought, technique and science in order to represent in the best way that we want to show, tell, teach, about the ” inner human motions”.

And what is cinema if not the union and the highest expression of All of this?

As a matter of fact, those who work in the cinema field know how important it is to have a transversal cultural background as wide and complete as possible, on both technical and artistic level.

The knowledge of Physiognomy is therefore necessary to deal with the creation of a feature film from scratch – which means developing one or more characters and their psychology – and the reaction that will provoke their appearance and behaviour on the audience, through the events and the narrative rhythms, supported by music, words, images, lighting and setting.