FRED Film Radio - English Channel

At Focus London 2025, Fred Film Radio spoke with Georgia Cecconi, Director of West London Film Production, about building creative bridges between the UK and Italy, wearing multiple hats across the industry, and why connection and collaboration sit at the heart of her work.

Georgia Cecconi spoke openly about juggling roles as an actor, producer, and company founder, describing it as both challenging and creatively freeing. Having launched West London Film Production as a largely one-woman operation, she explained how the company is now growing into a wider team, alongside an increasingly busy slate. Recent projects include the short films “Socrates Chair” and “Villa Moret”, both produced between the UK and Italy, with a UK–Italy feature film already in development. For Cecconi, wearing multiple hats has become a way to create more opportunities rather than limitations.

A major part of Georgia Cecconi‘s work centres on the West London Film Festival, now heading into its third edition in 2026. She described the festival as an inclusive, international platform designed to support emerging talent while welcoming more established voices. Recent highlights included Italian feature “Unicorni” by Michela Andreozzi, the series “Pesci Piccoli”, and a wide range of shorts, documentaries and animation. Beyond screenings, the festival places strong emphasis on workshops, talks and panels — including a well-received focus on post-production — as well as children’s workshops aimed at introducing younger audiences to the industry.

Georgia Cecconi highlighted Focus London as a vital space for face-to-face connection, particularly as the industry becomes increasingly virtual. She spoke positively about the newly signed agreement between Italy and the UK, aligning closely with her own work in international co-production. Looking ahead, she expressed optimism about the industry’s health and a pragmatic openness towards AI, viewing it as a tool to adapt to rather than fear. Ending on a personal note, Georgia Cecconi shared an ambitious wish list that includes making her first feature film, expanding her slate of romantic comedies, and, one day, working with a director like Quentin Tarantino, while continuing to champion collaboration, inclusion and female-led production both on and off screen.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency

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At Focus London 2025, we spoke with Alberto Battocchi, Film Commissioner at the Trentino Film Commission, about what a film commission really does today, why being present at Focus remains important, and how Trentino is balancing international ambition with local responsibility.

Alberto Battocchi described the role of a film commission as having two clear missions. On one side, he explained, is the work of attracting film and TV productions from outside the region, whether from elsewhere in Italy, across Europe or further afield. On the other is the responsibility to grow the local film industry, ensuring that professionals continue to develop their skills and that local producers are supported in taking their projects beyond regional borders.

When talking about Trentino itself, Alberto Battocchi highlighted the region’s position in the very north of Italy, where Italian and continental European cultures meet. He explained that this gives filmmakers access to a wide variety of locations within a relatively small territory, from cities and castles to lakes, villas and public spaces. He also pointed out that many public locations can often be used free of charge, describing this as a practical advantage for productions. Being at Focus London, he added, allows him to meet producers and location managers face to face, exchange ideas with colleagues from other countries, and build relationships that simply aren’t possible remotely.

Alberto Battocchi spoke with particular pride about “Vermiglio” by Maura Delpero, shot entirely in Trentino and winner of the Silver Lion in Venice, describing it as a perfect collaboration between a sensitive director and the territory itself. He also mentioned a major Netflix series currently shooting in Trento, drawn to the city’s Christmas market and seasonal atmosphere. Beyond individual productions, he highlighted Green Film, the sustainability certification system Trentino launched in 2017, which has since been adopted by many other regions and has certified more than 300 projects. Looking ahead, Alberto Battocchi said his personal wish is to see more high-quality European co-productions choosing Trentino, believing strongly in the power of collaboration to allow one region’s culture and landscapes to reach audiences across Europe.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, we spoke with Stefania Ippoliti, Director of the Toscana Film Commission, about the evolving role of film commissions, what Tuscany continues to offer productions, and why international collaboration feels more important than ever.

Stefania Ippoliti described the core role of a film commission as welcoming productions from Italy and abroad and helping them navigate everything from permits to local systems they may not be familiar with. While Tuscany is already a globally recognised brand for its culture and landscapes, she stressed that a key part of the commission’s work is making it genuinely easier for producers to set up and shoot in the region. Alongside financial support, this includes acting as a bridge between international working habits and local realities, helping productions feel “at home” while filming.

Talking about the kinds of stories drawn to Tuscany, Stefania Ippoliti noted the continued popularity of romantic narratives, particularly for platforms, often centred on characters from different cultures meeting in the Tuscan countryside. At the same time, she highlighted a broad mix of productions, including documentaries, unscripted work and TV series. Among the projects she mentioned with particular pride were the series “The Monster of Florence”, which revisits a traumatic chapter of local history, and “Jay Kelly” by Noah Baumbach, shot in Tuscany in part because of the region’s unique railway depots housing historic trains. These less obvious assets, she explained, are just as important as Tuscany’s famous cities and landscapes.

Ippoliti described her return to Focus London as especially meaningful this year, highlighting the newly signed agreement with UK institutions and Tuscany’s long-standing cultural ties with British creatives. She spoke about the potential of stronger UK-Italy collaboration, particularly as a bridge to the American market. Looking ahead, she expressed less concern about AI than about global political instability and its impact on cultural industries, stressing the importance of continuing to support film as both a cultural and economic sector. Ending on a lighter note, Ippoliti shared her personal wish to work more closely with Shonda Rhimes, praising her as a powerful creative entrepreneur and jokingly suggesting a “Tuscany-style” take on “Bridgerton”.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, we spoke with Diego Cavallo, Partner at Panorama Films, about the role of production service companies, the scale of international projects filming in Italy, and why face-to-face markets still matter.

Diego Cavallo explained that Panorama Films works as a production service company, supporting international productions at every stage of shooting in Italy. This includes location scouting, liaising with film commissions, providing experienced English-speaking crews, and handling the complex process of applying for Italy’s tax credits. He stressed the importance of trusted local expertise, noting that many of Panorama’s location managers have received international recognition and have worked on major productions ranging from “House of Gucci” to “Succession” and “The White Lotus”.

Reflecting on the company’s recent highlights, Cavallo spoke proudly about working on projects including “Mission: Impossible”, “All the Money in the World” and multiple collaborations with Ridley Scott. He described the experience of filming “Mission: Impossible” in Venice just after lockdown as particularly memorable, with the city almost entirely empty. He also discussed Panorama’s work on the final episodes of “Succession” season three in Tuscany and Lake Como, and on the entirety of “The White Lotus” season two in Sicily, highlighting the close creative collaboration with international teams and the strength of Italian crews, many of whom went on to work together again on later productions.

Diego Cavallo described Focus London as a valuable opportunity to strengthen relationships that often exist only virtually, allowing people to reconnect face-to-face and put names to emails. While acknowledging the dominance of streaming platforms, he spoke about the continued appeal of both high-quality series and smaller, more challenging independent films. Looking ahead, he expressed cautious curiosity about the role of AI as a tool rather than a threat, and shared his optimism about the health of the Italian industry, pointing to the post-pandemic surge in productions, growing crews, and the lasting impact of screen tourism sparked by shows like “The White Lotus”.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, we spoke with Andrea Rocco, Director of the Sardegna Film Commission, about stepping into the role, selling Sardinia as a filming destination, and how the region is investing in long-term, sustainable growth.

Andrea Rocco spoke about recently taking up the role of Director of the Sardegna Film Commission, returning to Focus London after having followed the event for many years in a previous position. He described the core role of a film commission as attracting productions to generate visibility and economic and touristic return, while increasingly focusing on building a healthy and sustainable local film industry. For Sardinia, he explained, this balance between visibility and long-term development is especially important.

Addressing the fact that Sardinia is an island, Andrea Rocco acknowledged that productions can initially see this as a complication, before quickly realising the advantages. He highlighted the region’s remarkable variety of locations — from beaches and lakes to mountains, cultural sites and landscapes — all within a single territory. He also pointed to strong financial incentives, support with transport costs, and a growing, high-quality local crew base, meaning productions don’t need to bring everyone with them. The result, he said, is a region that looks complex on paper but works very smoothly in practice.

Reflecting on recent highlights, Andrea Rocco noted that just two weeks after starting the job, Sardinia hosted a major “Star Wars” feature film, set for release in 2027 — a moment he described as a dream scenario for any film commission. He also referenced earlier projects, including “The Irish Affair”, alongside a growing number of locally produced feature films now travelling beyond Sardinia to wider Italian and international audiences. Andrea Rocco highlighted training as a key priority, pointing to an animation programme that has already trained around 100 young people, as well as Sardinia’s early leadership in green filming, with incentives rewarding productions that follow sustainable protocols. Looking ahead, he said his ambition is to attract more long-running TV series, seeing them as essential for building skills, experience and a stable local industry over time.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, Fred Film Radio spoke with Matteo Garnero, Head of Marketing at the Genova Liguria Film Commission, about the close relationship between filming and tourism, what makes Liguria uniquely versatile on screen, and why international collaboration is key to the region’s ambitions.

Matteo Garnero described the role of a film commission as having two main goals: first, helping productions understand why a region is worth filming in, and second, making sure that once they arrive, everything runs smoothly. Using Liguria as an example, he described the region as “a little Italy” in just a few kilometres, where productions can find mountains, sea, historic towns and modern cities without the need for constant travel. The commission’s job, he explained, is to take care of permits, hotels and logistics so filmmakers can focus entirely on creativity.

Talking about projects shot in the region, Matteo Garnero pointed to the popular Italian TV series “Blanca” as a recent highlight, while noting that several international productions — including a Netflix project — are currently in development but still under wraps. Looking further back, he recalled the excitement of hosting the Adam Sandler-led film “Murder Mystery”, describing the buzz of having Hollywood crews working across Liguria. His focus now, he said, is on attracting more international films and TV series, building on the region’s flexibility and growing reputation.

Matteo Garnero stressed the importance of Focus London as a place where real connections are made, arguing that face-to-face conversations are far more powerful than emails and paperwork. He spoke enthusiastically about the newly signed agreement between Italian and UK film commissions, describing England as one of Europe’s strongest and most forward-thinking production hubs. Looking ahead, he expressed optimism about AI as long as clear rules are established, highlighted a major heritage-driven project in development linked to Liguria’s historic ties to early Hollywood and Walt Disney’s “Snow White”, and ended on an ambitious note: his goal is to move Liguria from the “B-League” to the “A-League” of global filming — with Hollywood majors firmly in sight, and, ideally, Scarlett Johansson directing or starring in a future Ligurian project.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency

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During Focus London 2025, the British Film Commission and the Italian Film Commissions Association signed a renewed Memorandum of Understanding (MoU), strengthening collaboration between the UK and Italian screen industries.

Building on the 2022 agreement, this new Memorandum of Understanding reinforces strategic cooperation, encourages inward investment, supports high-end film and television production, and promotes both countries as leading global filming

The partnership focuses on facilitating co-productions, enhancing joint international promotion, and organising reciprocal industry initiatives to stimulate new opportunities. Within this framework, Cinecittà’s International Department will support missions for Italian producers, further boosting collaboration between the two territories.

This podcast features an exclusive extract with Jacopo Chessa, Director of Veneto Film Commission and president of the Italian Film Commissions Association and insights from the conference, offering a deeper look at the objectives, expectations and future opportunities arising from this enhanced bilateral agreement. Listeners will hear reflections on Memorandum of Understanding, policy, industry development, creative partnerships and the shared commitment to strengthening Europe-UK relations in the audiovisual sector. From tax incentives to real production case studies—including major titles filmed across both territories—this conversation highlights why the UK and Italy continue to play a key role in the global film and High-End TV landscape.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, we spoke with Gianluca Leurini, Executive Producer at Eagle Pictures, about the value of international collaboration, the role of film commissions in Italy, and the realities of producing large-scale cinema today.

Gianluca Leurini spoke about Focus London as a valuable opportunity to meet international producers, suppliers and film commissions face to face, stressing that in-person conversations remain far more effective than virtual exchanges. He highlighted the importance of understanding how production landscapes differ across countries and described the event as a space not only to explain Italy’s tax incentives, but also to learn from how other territories operate. For Eagle Pictures, Focus London offered a chance to strengthen existing relationships and build new ones across Europe and beyond.

Reflecting on the Italian system, Gianluca Leurini described regional film commissions as central to the country’s production success, pointing to regions such as Piedmont and Apulia as examples of how strong local crews have been developed over time. He explained how this growth has reduced the need to bring crews from Rome, making regional production more sustainable and attractive to international projects. Among the highlights of his career, Gianluca Leurini mentioned working on large-scale productions including “Kingsman”, “Dune: Part Two” and “Point Break”, as well as more recent production services on a major MGM-backed project.

Gianluca Leurini was clear about his personal preference for cinema over television, expressing a strong attachment to the big-screen experience despite the rise of high-budget TV series. Looking ahead, he spoke candidly about uncertainty in the Italian industry due to changes around incentives, while acknowledging that managing budgets has always been part of a producer’s challenge. Ending on a high note, he recalled the demanding but rewarding experience of shooting extreme snowboarding and avalanche scenes for “Point Break” in the Italian mountains, describing days spent at high altitude, freezing temperatures and real explosions — moments that, while gruelling, remain among his most memorable on set.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At Focus London 2025, we spoke with Riccardo Neri, Executive Producer at Lupin Film, about the role of production service companies, the value of face-to-face markets, and the kind of filmmaking he is most proud to stand behind.

Neri introduced Lupin Film as a company operating across several areas of the industry, combining production services with original content production in documentaries, features and commercials. As a founding member of APE, the Association of Executive Producers, he explained that his work often involves supporting foreign productions coming to Italy from start to finish — from early planning and location work through to securing tax incentives and closing the financial process long after filming wraps. For him, production service is about trust and continuity, offering producers a reliable presence on the ground rather than a one-off fix.

Reflecting on Focus London, Riccardo Neri described the event as particularly effective because of its compressed format. He praised the ability to meet film commissions and producers face to face in focused, ten-minute conversations, contrasting this with larger markets that can feel dispersed and overwhelming. He stressed that seeing booths, sitting down in person and having someone clearly explain opportunities is far more productive than emails, websites or LinkedIn messages. Among his priorities this year were the new memorandum of understanding between Italian and British film bodies, which he sees as especially important post-Brexit, and meetings linked to a future project planned for the south of France, alongside conversations with producers interested in shooting in Italy.

Asked about projects he is most proud of, Riccardo Neri pointed to working with Paolo Sorrentino on “The New Pope” and “The Hand of God”, describing Paolo Sorrentino as one of the most complete directors he has ever collaborated with. At the same time, he spoke with equal pride about producing the short film “Majonezë” by Julia Grandinetti, a black-and-white film shot in Albania that is currently campaigning for the Oscars after winning multiple festival awards, including at AFI. Looking ahead, Neri shared strong views on the state of the industry, expressing concern about the dominance of platforms and a belief that cinema should be experienced in theatres. While he dismissed fears around AI, seeing it instead as a useful tool, he stressed that emotion remains the one thing technology cannot replicate. Ending on a personal note, his dream collaborators include Francis Ford Coppola, Mike Figgis and Paul Thomas Anderson — filmmakers he still places firmly at the centre of his cinematic imagination.

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This interview was recorded during the Focus London 2025, in partnership with the Italian Film Commissions Association and with the support of the Italian Trade Agency.

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At the opening night of MoMA’s Carlo Rambaldi film retrospective, Daniela Rambaldi joined us for a special conversation reflecting on the life and legacy of her father. This interview offers a rare opportunity to hear firsthand how Carlo Rambaldi’s imagination, discipline, and emotional sensitivity shaped some of the most enduring creatures in cinema history.

Speaking from personal memory and family perspective, Daniela Rambaldi discusses her father’s early influences, his approach to craftsmanship, and his collaborations with filmmakers such as Steven Spielberg. The conversation reveals the human dimension behind Carlo Rambaldi’s technical mastery, emphasizing his belief that even the most fantastical creatures must be capable of expressing vulnerability and empathy.

Conducted on the evening that marked the public launch of the retrospective, this interview serves as both a tribute and a point of entry into the films presented, inviting audiences to experience Carlo Rambaldi’s work not only as a milestone in special effects, but as a deeply personal artistic legacy.

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