Starting tomorrow, I’ll get up late


Title Starting tomorrow, I’ll get up late
Production company 30 Miles film Srl (Italy)
Director Stefano Veneruso
Producer Stefano Veneruso
Executive Producer Barbara Di Mattia
Line Producer Raffaele Veneruso, Massimo Fanelli
Story and Screenplay Anna Pavignano
Genre Drama, Romance
Language  English, Italian
Country of production Italy
Shooting  Spring 2019

The story of Starting tomorrow, I’ll get up late is loosely inspired by the life of Massimo Troisi, one of the greatest Italian actors, Oscar nominated, whose career peaked with the film, The Postman (Il Postino), receiving five Oscar nominations in 1996. Massimo Troisi died at the young age of forty-one, following a serious heart illness, while he awaited a transplant that would have taken place only days later. Massimo Troisi was a man with an exceptional talent, and a great personal warmth; witty and funny even in tragedy. 
The screenplay Starting tomorrow, I’ll get up late was written by Anna Pavignano, who lived a wonderful love story with Massimo Troisi, and also worked with him as co-author of his films, all of which were highly successful.  Anna Pavignano was Academy Award nominee for best screenplay for the film The Postman (Il Postino) - 1996. 
The film, which takes place between Canada and Italy, narrates Massimo's life, a successful actor, anguished by love and by Anna, a successful scriptwriter. Anna remembers everything about him, even more than he, himself remembers. Unavoidable flashbacks of, both painful and amusing life they both shared emerge, their personality, their way of thinking and Massimo’s way of making people laugh.  
“Starting tomorrow, I’ll get up late” It’s a film that dreams of the possibility of an eternal and absolute love that survives time, one that co-exists with life moving forward, where death is not always the end. 

Note from the director

The idea came about five years ago. Reading the novel, I thought it would be a great film, a love story to tell, regardless of the character in question. I was struck by the dynamics of their story, which I vaguely knew. To discover the pain experienced by the two of them is a really interesting thing, because Massimo had a very special “pain management”: he was able to manipulate and reverse any situation. The viewer has to expect a study of his thoughts that even I, who saw him like an older brother, knew nothing about.