Questions for Davide Gentile

click here for Davide's reel


When Davide's search for the American Dream hit a wall some years ago, at the tender age of 26, the not yet director, found his "American Dream" unexpectedly in London.

What at the moment might have apeared as a departure from his path, instead was the catalist for the emergence of this 2 time winner of CFP-E (European Federation for Commercial Film Producers) & SHOTS Young Director Award in Cannes, Italian born, London based director to become a force to recon with in the world of advertising and film.  The director with a growing renown for emotive and strickingly beautiful narrative advertising and short film pieces, tells us a little bit about his thinking. 


 1 - What made you want to become a director? 

At a time when I was lost in my life, as many of young people are in their mid twenties, I was lacking a path, but I still felt I needed to express a deep feeling of telling stories.

It was almost a necesity, and it turns out it was the only way to move forward. It was always inside of me, but circumstances forced me to finally make the jump, and of course now I am so much better for it!


2 - Who are your biggest influences as far as directors?

Interesting question... I'd like to answer with my heart. By that I mean that my influence to become a director are not only from film. A lof of my childhood memories influenced my need, my desire, to be a storyteller and a filmmaker. As far as actual director influences, I would say James Brown, and for sure the Coen Brothers.

3 - What 5 films instantly come to your mind?

 Sophia Coppola's "Lost in translation", Jean Luc Godard's "Breathless", Sidney Lumet's "Dog Day Afternoon", Lee Hau-jun's "Castaway On The Moon",  Stanley Kubrick's "Shining"




4 - What is the biggest challenge for a director on set?

My biggest challenge, or rather, my biggest priority on set is to make everyone, me included, feel alright. To achieve this preparation is paramount. I'm a huge believer of using the pre-production stages, and of preparing well beforehand, as the best way to create a set that thrives. 

This is extremley important as it allows me, together with the team, to work as best as we can on to achieve the best result on film. Also, organizing everything beforehand is the key to be able to have the right amount of time and space to improvise with actors and to have space to create with them. This allows me to find the true "feeling" of the piece.