I like to travel routes unknown, not for snobbery or thirst for distinguish myself, but simply because i like to follow my thought and my instict in the wake of curiosity.

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“WE LOVE MAKING MOVIE” is the slogan by Babelsberg Studios.

The passion for the movie, at the same time for Berlin unites me and my friend Francesco.

He organizes an interesting Tour called “CINEMA IN BERLIN” in collaboration with Berlino Explorer: An itinerary to discover some of the thousand places, the protagonists of the films that have made the history of Berlin in the movie production: the anecdotes and history of the German capital are combined with plots of the film, weaving reality with fiction, espionage with the ‘actuality. With the help of pictures and videos you can relive some of the most famous scenes set in the city, lowering himself for a moment in the role of Lola (“Run Lola Run”) or the angel Damiel (“Wings of Desire”) . Because the history of Berlin is also made of celluloid.


Wings of Desire by Wim Wenders by Potsdamer Platz

Francesco’s ITINERARY TOUR :

– Warschauer StraßeOberbaum Brücke, from “RUN LOLA RUN” (1998 by Tom Tykwer) and the action scenes of “BOURNE SUPREMACY (2004)”. Sprinting through the reunited city in the late 1990s, Franka Potente’s Lola swiftly became an international symbol of Germany’s new dynamism. Director Tom Tykwer hurled her pell-mell around Berlin, picking locations from east and west in a thriller that plays out three times, with three different outcomes. The film is very much a what-might-have-been story, with a happy ending, which is perhaps what we want to feel about Berlin itself.

– Alexanderplatz– From the television series “BERLIN Alexanderplatz” by Fassbinder to “GOODBYE LENIN” (2003), the most popular locations in the German capital. A dedicated young German boy pulls off an elaborate scheme to keep his mother in good health in this comedy drama from director Wolfgang Becker. Suffering a heart attack and falling into a coma after seeing her son arrested during a protest, Alex’s (Daniel Brühl) socialistmother, Christiane (Katrin Sass), remains comatose through the fall of the Berlin wall and the German Democratic Republic.

-Hauptbahnhof and the Bundestag – From science fiction movie AEON FLUX (2005) and EQUILIBRIUM (2002) wonderful unexpected set location.. Most of the filming used locations in Berlin, due to its unique mixture of fascist and modern architecture. In a Fascist future where all forms of feeling are illegal, a man (Christian Bale) in charge of enforcing the law rises to overthrow the system.

Berlin-equilibrium set

The Hall of Enforcement in Equilibrium, represented by the Bundestag (Berlin U-Bahn) subway station under the Reichstag building.

– Potsdamer Platz – The square of the angels of “WINGS OF ANGELS” by Wim Wenders. (1987), when he turned the square was still a wasteland. Arguably the finest film about the divided city was made by Wim Wenders in 1987 – a fable about angels floating over a traumatised Berlin, listening to its inhabitants’ thoughts, and attempting, in different ways, to heal their pain. Two years after the fall of the Berlin Wall, Potsdamer Platz will become the largest building area of Europe; the result of reconstruction is the current, modern place you can see today.

ChristianeF    – Zoologischer Garten from the movie CHRISTIANE F, by Uli Edel (1981). Christiane F. – We Children from Bahnhof Zoo” in English) is a 1981 German film based on the autobiographical recordings of a young heroin addict and prostitute in West Berlin. It was one of the most successful German films of that year, going on to become a worldwide cult hit, but one that stirred up a lot of (I think justifiable) controversy. In the late 70s and early 80s, West Berlin’s reputation for radicalism and experimentation made it a mecca for youth at the time: but there was a dark side, encapsulated in this notorious film about a drug-addicted prostitute.Bahnhof Zoo was West Berlin’s biggest rail station at the time, and the film-makers also shot extensively in Christiane’s home district of Gropiusstadt, the southern suburb designed by the Bauhaus founder.


For contact:

Francesco Somigli address:


Berlin was once Germany’s Hollywood, the capital of German cinema, home to the nation’s biggest movie company, the UFA, and stars such as Marlene Dietrich. The golden age of German and Berlin cinema was the interwar period, although following 1933 the Nazis gained a stranglehold over the industry and converted it in steps to a propaganda instrument. The Second World War pretty much killed off Berlin’s film industry. The UFA fled to western Germany, and its interests in the GDR were taken over by the state-owned DEFA, which continued to operate out of the Babelsberg Studios – albeit with little international success.

Following Berlin’s reunification, the multiplexes came to town: purpose-built, multiscreen movie theaters sprung up in all the major centers. They filled a huge gap in the market, especially on the eastern side of the city, bringing mainstream cinema to more Berliners than ever before, especially those along the Ku’damm were unable to compete and the turn of the century saw the great “Kinosterben” (film theatre die-off). Now the market is mainly divided up between the big multiplexes and smaller local / art-house cinemas. Nevertheless there’s a huge choice of venues, and something for every taste.

In the last years in Berlin has become In recent years Berlin has become a central point for foreign productions. (THE PIANIST, VALKIRIE, CLOUD ATLAS, V for VENDETTA). Just in the 2013 for the first time in Studio Babelsberg’s history, the studio celebrates three international film premieres at the Berlin International Film Festival (Berlinale). Besides the premieres of Wes Anderson’s THE GRAND BUDAPEST HOTEL and George Clooney’s THE MONUMENTS MEN, today the Berlinale officially announced the screening of BEAUTY AND THE BEAST directed by Christophe Gans. Vincent Cassel and the French up and coming star Léa Seydoux are featured in the main roles in the high budget remake of the fairy tale classic, shot entirely at Babelsberg studios.



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EIKO ISHIOKA said: “The world is my studio and everything on earth is my motif.  In order to help communicate my message, I have looked for talented people in various fields. I have worked with these people to broadcast our messages throughout the media. Television, stage, posters, newspapers, and books have been my canvas, and my collaborators have been most precious paint.”


Parco – advertising

For me Eiko Ishioka is the most incredible and visionary creative artist ever known. She was a Japanese art director, scenographer, costume and graphic designer famous for her work in stage theatre, movie production, music video, advertising and print media.

She worked on the most important creative production of the world, from Dracula Bram Stoker by Francis Ford Coppola to Cirque du Soleil (Oscar Academy Award winner for best costume design), from director Tarsem Singht (the Cell, The fall, Mirror Mirror, Immortals) to Opening Ceremony Olympics Games in Beijing etc…

She has been a genious, Ishioka’s work spanned genres and continents and forged a visual bridge between the East and the West. Her work was so provocative in every possible sense of the word, and it was meant to be.


She also directed Björk’s controversial 2002 video for the song “COCOON,” in which the singer appears to be nude; designed the performers’ costumes for the spectacular opening ceremony of the Beijing Olympics Games in 2008; and dreamed up the futuristic outfits for Grace Jones’s 2009 tour.


Cocoon – Bjork

From childhood, Eiko was encouraged to pursue a career in design. Her father was a commercial graphic designer, and her mother, a ­traditional Tokyo housewife who wanted a more exciting life for her daughter. After studying design at Tokyo National University of Fine Arts and Music, Eiko began working in the advertising division of ­Shiseido in 1961 at age 22; four years later she was the first woman to win Japan’s most prestigious advertising award. “One man, a very talented designer, said that my name would not be famous if I were not a woman,” Eiko said in 2000. “It made me angry.”

Over the years, Ishioka developed and established herself as Japan’s foremost art director. Her work helped Japan transform itself from a traditional culture into a modern consumer society which became a powerful player on the global economic and cultural stage. But she did it without selling her soul.



She won a 1986 Grammy Award for her cover design of Miles Davis’ album TUTU and in the 1985 Cannes Film Festival Award for Artistic Contribution for her work on Paul Schrader film MISHIMA as well as numerous Japanese awards.

She is my biggest inspiration, I’m trying as she did to collaborate in various fields of my job and to have opportunity to work from opera house to commercial spot, from movie production to great event show, from graphic animation to fashion show.

I think it’s the best way to keep an open mind and to give a view always curious and innovative into the work.


The Fall

For example in the wonderful movie THE FALL (unknown for many) she created vast landscapes, Taj Mahal-inspired architecture, elaborate interiors, gigantic blood-stained linens, and images of birds flying out of people’s mouths. However, in this fantasy world — directed by Tarsem but imagined by a young Romanian girl (played by Catinca Untaru) — it’s the costumes that make the characters come to life. o Eiko Ishioka created matching black-and-gold uniforms for the masked bandit and his trusty sidekick (above); a red, black, and white-striped fur coat for the character of Darwin, a iron pyrite-beaded headdress topped with brassy horns for the former slave, and a lotus-patterned crimson dress for the kidnapped princess (her face hidden beneath an opaque, chiffon mask inspired by Japanese folding fans).

Ishioka’s work is pervaded with a deeply stylized sensual surrealism. It takes you into an unknown world so thoroughly different from what you’re used to that you don’t know what to expect. She drops you in new territory, and leaves you there to figure it out for yourself.


Dracul Bram Stoker – F. Ford Coppola

For Bram Stoker’s Dracula for example, she designed costumes that blurred the line between human and beast. “Dracula has a very cliche style built [during a] long long film history,” she explained during an interview. “Francis [Coppola] and I wanted to completely throw away this cliche look to create our own vision, which does not look like a man, a woman, or old, or young, beast or human. What is this one?

Ishioka’s work was not rational. It didn’t have a political or philosophical message. It was emotional. It overwhelmed the senses. On the site of Cirque du Soleil Ishioka is quoted as saying, “One of my objectives at Cirque du Soleil is to design costumes that will accentuate and even reinforce the visual and emotional impact of the risks taken by the artists, while ensuring their complete safety.”


The Cell – Tarsem Singht

In a few words for me She is the best and undisputed creative of all time.


graphic adv