1. Let’s start right from the beginning. Why did you choose the name Darkslide? what does it represent?
Easy, from Wikipedia: Darkslide is a skate trick invented by Rodney Mullen. It’s a very difficult maneuver that consists in sliding the table upside down, from side to side with the grip. In photography is the plate that protects the light-sensitive element. Moreover, the assonance with the dark side of the force is damn seductive. In short, it is a name that sums up incredibly our street inclination, the bond with the most wow picture and scene of the history.
2. Tell us more about Darkslide and how everything starded.
It was born because we have needed to evolve. We’re three guys, Samuel, Fabrizio and John and each of us has developed specific skills in his career. We are talking about photography, post-production, 3D, and a variety of minor skills in other areas, plus the love for culture and aesthetics of the image. We quickly realized that the union of all this could create wonderful creatures and bring each of us to a higher level. The beer did the rest and the desire to have fun and never take it too seriously is the real binder. Darkslide project is young, after a first test period we officially set up in September 2016 but a lot of things have already happened.
3. What is the role of each of you?
John is the 3D generalist vegan and psychedelic, he works to make strange mouth verses during the day, give healty food advice and creative sketches too. Then there is me, Samuel, I take care of photography and post-production, I try to pay rent and bills, bang on the phone and answer interviews like this, I crave the web part and answer telegram only with gifs. Obviously I am the good looking guy of the team. Fabrizio takes care of photography and post-production, a bit of video editing when we need it, and sometimes he doesn’t speaks for days. He is calm with a self-control like a Shaolin master but he can go crazy at night. He could be a potential serial killer. All three of us are concerned with the creative part and the artistic direction when it is required.
4. Creativity is the real point in your work. Where do you find the ideas or inspiration for a new project?
I think in the common imagination there are shots of people traveling free and happy in fantastic places, with notebooks and vintage-looking cameras going around Tokyo cafes or New York. Well we would love it, but more often the reality is that customers are in a hurry, the deadlines are very tight and if you call the customer and tell him you are walking in New York looking for inspiration, well may be he could not be so happy. So it happens that we spend whole days to swing between sofa, floor, web and designs searching for the right inspiration, with breaks between Xbox and walks into the wood, ideas, discussions, and wandering creative processes. Sometimes the intuition makes it easier but the truth is that being creative is the result of commitment, information, open mind and a bit of madness. It is a unique way of connecting everyone’s interests, see things from a different point of view, engaging in so many different things and then connecting everything to a new form.
5. What are the irreplaceable tools to work?
There must be the desire to learn; The key is to be constantly stimulated, accept new challenges and try to do things that no one has done or do it in a different way. The technique is important because it is the right support for a good work. But it should never become a limitation, we believe that sometimes a justified imperfection can transmit more than a technically impeccable product. Sure, the two things should always be balanced. We are all three self-taught, a testimony to the fact that what we really need is commitment and perseverance.
6. Let’s talk about one of your latest projects: Transmutation.
We got an email from the guys of the Pause Fest in Melbourne, they told us that we have been selected along with ten other freelancers / agencies around the world, for the 2017 Edition. The topic to work on it was the interaction between man and technology, and immediately John left for an astral journey through the meanders of his delicate conscience, giving birth to the basic line of the project. We have learned new things, invent ways to do things. The result is the story of an experience, an introspection path, a question about our species and technology; it’s technically imperfect but we love it.
7. What was the first project that made you known to the public?
Definitely The Heist; It is the first project all together and the team was even wider. It was born by chance, this time as a response to a trivial need. We spent the first few months with people coming into the bank asking for money or loans, an urgent response was needed. So the image was born with the original claim (The bank has moved, now we are there) but when we finished it we realized the wider potential it had: the claim became “You can’t steal creativity”, a message that wants to emphasize that they can copy your projects, may steal customers but at the end, no one can steal your creativity, the true essence of our business.
8. Italy does not seem to take off at this time. What are the difficulties you often encounter?
First of all, the three magic numbers: 30-60-90. In Italy, it is difficult to understand the value and work behind every image, as well as the respect for those who sacrifice so much for a work. And then the asphyxiating bureaucracy. As we all know we are all coaches in front of the TV. To date, we don’t understand the mechanism which Italy possesses excellence from a creative point of view, but in reality the ADV in our country is often repetitive and unmerciful.
9. How do you see CG in 10 years, in which direction will Italy go?
Citing a guru we can say that “We no longer know where we are going to be, we mumble in the dark, the answer is inside us, and it’s wrong.” In ten years technology and the market will open incredible scenarios and we hope it can be reached by everyone so everyone can make a contribution. The risk is flattening cultural and creative process, where the bombardment of images doesn’t leave room for counter-tendencies. We hope Italy will begin to take a more concrete direction, with less ostentation and more meritocracy, and go boldly towards new roads. Well, it looks like a premier speech.
10. What kind of advice would you give to emerging artists?
First of all you should avoid going crazy for New York, but if you can do it, good for you!!. In general, try to get rid of your schemes, feel crazy, have fun. Be meticulous and tremendously critical with your work. Always look for a confrontation and be open to every observation, even those that appear unfounded. Pack it all with style and don’t be lazy; You never take yourself too seriously, there will always be a Korean kid who can do what you do in half the time and only for hobby. Believe in what you do, because it is imperative to work with dedication and seriousness.
May the force be with you!
Thanks a lot guys for your availability and wish you good luck for everything!