WIM WENDERS

Name: Wim Wenders, producer director.

Production: The Palermo Shooting. The Germany production shot on location in the German cities of Dusseldorf and Essen before moving to Palermo and Rome for a month in October-November last year.

Why did you shoot in Italy'

My story was written for the city of Palermo. I like to be specific when it comes to cities and landscapes, and my films are based largely on a sense of place. The Palermo Shooting couldn't have been done anywhere else.

What were your cost savings'

We had regional funding through the European Union (which supplied funds via a development programme for the under-utilised island), which provided about 25% of our financing. But we didn't shoot in Sicily for financial reasons. However, costs were a bit lower, about 15%-20%, than if we had shot in Germany or other parts of Europe.

What advice would you give a foreign producer working with an Italian crew for the first time'

Outside Rome, an Italian crew will shoot five-and-a-half-day weeks. Saturday you shoot a half-day, seven hours straight, no lunch breaks, and then you go home. You have to get used to the way Italian crews have lunch. The idea of catering, as we know it in Germany for instance, was strange to them. That can create problems if you have a mixed crew.

Which Italian person or company did you find indispensable'

A location manager and Italian line producer are completely essential in my book. And then you need Italian grips and electricians if you shoot on location. We had a mixed Italian and German crew, and that worked out fabulously.

Is there anything Italy can do to bolster its status as a first-class international location'

It's a first-class international location, in my book, for its landscapes, people, great cinematographic tradition and for its crews. It could certainly be a bit more organised and efficient. There is always a little edge of chaos.

What do you know now that you wish you had known before you started shooting in Italy'

I had shot there before, with Michelangelo Antonioni on Beyond The Clouds, so I had a bit of Italian experience.

Are you doing any post-production work in Italy' If not, where are you doing it'

We do all post in Berlin.

What did you like most about shooting in Italy'

The light. The spontaneity. The people. And the city of Palermo is one great, magnificent set.

What did you like least'

The weather, of all things. It rained for weeks, believe it or not. In Sicily!

Would you shoot in Italy again'

Anytime.

LUCAS FOSTER

Name: Lucas Foster, producer

Production: Jumper

Shooting and location details: Twentieth Century Fox's Jumper, directed by Doug Liman, was a locations-oriented project about a young man with teleportation skills. In Rome, the film used the Colosseum, the Arc of Titus, the Hotel Exedra, the Piazzadella Repubblica and Fiumicino airport. The production shot six days of principal photography in Rome in November 2007, one of aerial photography and two days of plate photography (used in constructing sets).

Why did you decide to shoot in Italy'

First as a story concept, we wanted to go some place with a historic and memorable appeal. Actually, we wanted our main character David (Hayden Christensen) to make a dream come true for the Millie character (Rachel Bilson) and we decided the Colosseum was that place. Because of various relationships (particularly line producer Giovanni Lovatelli), we also felt we had a decent shot at getting it.

Where else did you consider and reject, and why'

We thought about China, about the Great Wall and some other famous landmarks, but decided that filming major scenes there around cultural landmarks would be too expensive. We also flirted with similar scenes elsewhere - Stonehenge, Taj Mahal, etc - but rejected them for story reasons mostly.

Did you save any money shooting in Italy'

We went there because we found something that works for the story, and it's a 'film country' with a robust and well-trained crew base, good lab support and a great studio (Cinecitta).

What advice would you give a foreign producer working with an Italian crew for the first time'

Find a great line producer, one familiar with our (US or UK) way of working, and who is either Italian or speaks the language. Also, Cinecitta was really helpful to us. It's a great base from which to range out. Jumper literally could not have pulled off what it did in Italy without their support.

Which Italian person or company did you find indispensable'

I wouldn't do anything there again without all or most of these people: Giovanni Lovatelli, Gabriella DiSanto, (a great production manager), Roberto De Angelis (a great camera and Steadicam operator, and a great guy), Fiorella Oldoini (helped us in innumerable ways with the city government and others), Cariddi Nardulli (a production co-ordinator and all-round helpful presence), and Maurizio Sperandini from Cinecitta. Also, I had a driver, Gabrielle Piermattei, who was very knowledgeable and solved a lot of problems for me.

Is there anything Italy can do to bolster its status as a first-class international location'

Computer and editorial support could be improved, so bring your own experts and gear. With the passing of Shaila Rubin, who we also used on Mr & Mrs Smith when we shot in Italy, casting help may be an issue. Shaila had two assistants who were talented. Perhaps they can take up the mantle. Shipping speed and customs is an issue.

What do you know now that you wish you had known before you started shooting in Italy'

How permits and in/out times really work there. How to scout there - it's different from how we do it. In the US, the permit describes in minute detail what you can and can't do. In Italy, it's more interactive, more human. You have to get to know the people you are renting a location from, the cops, the neighbours, and you have to negotiate with them all of the time to get what you want ... It's not just about a piece of paper. Rome is like one big family.

Are you doing any post-production work in Italy' If not, where are you doing it'

Our post was done in New York and Los Angeles - we are a VFX movie with tight deadlines and Italy would not have made sense for us for post in that respect. The time zone would have been the major impediment unless (director) Doug Liman and I were going to move to Italy.

What did you like most about shooting in Italy'

The crew and the people of Rome, and the food and hospitality at our hotels and around the city, were all top notch. It's a great place for film-makers to work. We stayed in the Hotel Excedra. Their level of commitment to what we were doing was extraordinary.

What did you like least'

Not fond of the traffic and prodigious cigarette smoke. The exchange rate is tough for people paying for services with dollars. We should have bought more forward, but we didn't realise how fast the dollar would drop.

Would you shoot in Italy again'

In a New York minute.

ANTHONY WAYE

Name: Anthony Waye, executive producer

Productions: Quantum Of Solace, Casino Royale

Shooting and location details: Eon and Sony's $230m Quantum Of Solace is shooting from April 4 to May 17 at Lake Garda and in Tuscany. Locations in the latter include the Carrara marble quarries, the medieval town of Siena and the Talamone region. The production is based at the UK's Pinewood Studios with other international stints taking place in Bolivia, Chile, Panama and Austria. Waye shot Casino Royale at Lake Garda and in Venice in 2005.

Why did you decide to shoot in Italy'

We came to Italy for locations. Quantum Of Solace takes place in various countries around the world and part of the reason is that it follows on loosely from Casino Royale, so it starts from Lake Garda. We also shot in Siena for the Palio horse race (in August 2007). Although we don't feature the Palio as much as we would like to, it is an event that is taking place as Bond arrives in Siena.

What advice would you give a foreign producer working with an Italian crew for the first time'

We worked with line producer Guido (Cerasuolo) who is experienced in a very difficult job and (good at) dealing with the complications of shooting in a medieval town. Also, with Bond being a franchise, we tend to bring a lot of crew for continuity's sake, more than other productions.

Which Italian person or company did you find indispensable'

Guido Cerasuolo, who we used on Casino Royale had set up Venice for us, and we are using him and a lot of his team for Quantum Of Solace. There is always the advantage of knowing someone because it takes time to build up a new relationship, and we can even shout at each other. We're also using as many of his team that makes sense, even some special-effects guys from Italy.

Is there anything Italy can do to bolster its status as a first-class international location'

No, I don't think so.

What do you know now that you wish you had known before you started shooting in Italy'

We didn't know there would be a general election in the middle of our shoot. Some of the police support we rely on will have the dual task of dealing with election situations, so they may be preoccupied.

Are you doing any post-production work in Italy' If not, where are you doing it'

In the UK.

What did you like most about shooting in Italy'

Siena is wonderful, you are within walking distance of plenty of restaurants. So far we are getting on well and the co-operation from the city and authorities and the citizens is fantastic. We'll have to see if they still love us in three weeks' time.

Would you shoot in Italy again'

Yes.