ANACAM MAGAZINE - n.1 gennaio | marzo 2021

42 figure out how to build the set. I also gave them the contacts of a craftsman and an Ana- cam associated company (DMG spa) so they could have the components made exactly for their sets. It’s great to see that after a few years, my contribution was helpful, and that it was acknowledged in the film credits. As president of Anacam Service, how did it feel to watch a film shot almost entirely in an elevator? Surely the plot of the film revolves around other topics, the lift is only the setting, but because of their confine- ment, it intensifies the deeds of the two protagonists. Lifts are a useful and indispensable tool for our life and our present and future society. They take us home and to work in full safety. I wish lifts could be portrayed showing all the good they bring in our lives for once. After all, as I always say, “lifts take us home”. And what could be better than that? A nguish and claustrophobia in a few meters squared. “The Elevator” is a unique psychological thriller even for its setting; a New York elevator. Written by Mauro Graiani and Riccardo Irrera, the film was directed by Massimo Coglitore, his debut feature film. Showing no blood, no gore, there is no need to cover your eyes with your hands. However, the suspense is intense, the whole film revolves around this. THE PLOT New York, Labor Day; the city is almost empty during the long weekend in early September. Jack Tramell, an estab- lished TV quiz host, is stuck inside an elevator with a myste- rious woman, the game she has in mind for him is far worse than the games the man plays on TV. The woman demands answers from Jack and she will do anything to get them. She holds him responsible for com- mitting a heinous crime and threatens to torture him. The tables have turned on Tramell, he is not the one asking the questions and money is not at stake, but his life is. ANACAM’s CONTRIBUTION President Mazzarda, how did Anacam contribute to the making of Massimo Coglitore’s film? A few years ago, I was contacted through friends by the film’s production, to which I offered my assistance as an as- sociation and not as a private company. I showed the director and screenwriters some lifts, specifi- cally to two duplex operated lifts. It was really interesting, we started with a tour of the ma- chine room, where I explained roughly what happens when an elevator moves or stops. They asked several questions, carefully studying every component, every sound or noise that came from the elevator operation, I guess some scenes of the film were based on this. We stepped into the shaft, led by my licensed technicians; they studied its components, figuring out how to shoot with the effects required by the screenplay. I provided themwith some components from the Mazzar- da Elevatori warehouse, items such as push-button panels, ropes, mechanical parts with which they could test and Th e p s y c h o l o g i c a l t h r i l l e r d i r e c t e d b y Ma s s i mo Co g l i t o r e h a s n o g o r e, b u t p l e n t y o f s u s p e n s e Michele Mazzarda’s contribution: “I provided them with some components, such as push-button panels and mechanical parts. They did some shooting tests to understand how to build the set” CURIOSITà d i C . C . The Elevator, when a lift becomes a set