The director is the “craftsman of craftsmen”, seeking to unite the seven great arts and, together with them, many other artistic forms as well, making them seem like one single thing, one single art. It is not a sum, it is not a collage: it is a living harmony. It is an equilibrium built with respect, with measure, with sensitivity, so that every language has its own space and its own dignity, and so that from that encounter a wonderful dance can be born. A dance capable of generating a true filmic existence.

And when a film possesses this existence, it does not remain on the surface. It enters. It touches. It opens. It opens our minds and our hearts, makes the strings of our consciousness vibrate, and leaves something in the depths. In that moment a subtle and powerful transition happens: while we watch a film, we become passengers and no longer spectators. We come aboard. We entrust ourselves. We travel through a journey that the director has created with care, clarity, and vision. And in this way the circle is completed, because a film truly finds its meaning in existing, and art exists for this, it exists for others.

For this reason, directing is not only technique, and it is not only inspiration. It is a form of knowledge. It is becoming, in a few words, a painter of the soul. A painter who knows all of his tools very well, because only then can he begin the magic. Only then can he create his own painting and turn it into a film, drawing on the infinite colors and infinite shades that the human condition, existence, offers us: its contradictions, its silences, its truths.

And in the end, directing means precisely this: to know and discover in depth how the greatest show of all works, called “Life”. Not to imitate it, but to understand it. Not to describe it, but to give it form. Not to explain, but to make it felt.