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WRITERS !Enrico Gabrielli, Sergio Giusti !DIRECTORS !Pietro de Tilla, Elvio Manuzzi, Tommaso Perfetti !EDITOR !Guglielmo Trupia !PHOTOGRAPHY !Andrea Cavallari, Luca Cepparo, Serena Clessi, Pietro de Tilla, Giuliana Fantoni, Giovanni Freri, Pietro Leone,Tommaso Matteocci, Tommaso Perfetti, Luca Quagliato, Moira Ricci, Alessandro Sambini, Simone Schiesari, Guglielmo Trupia, Andrea Zanoli !SOUND !Tommaso Barbaro, Filippo Cordone, Daniel Covi, Alberto Ladduca, Giulia La Marca, Francesco Mangini, Elisa Piria, Mattia Pontremoli, Ema Shado !SOUND EDITING / AUDIO MIX !Duccio Servi / Massimo Mariani !COLOR CORRECTION !Red Line !PRODUCTION !ENECE film !COUNTRY !Italy !YEAR !2015 !DURATION !77 min !LANGUAGE !Italian (english sub) !WEB and PRESS OFFICE http://www.enecefilm.com/upm/ ENECE film (tel. 0239521694 – mob. 3404862322 – elvio@enecefilm.com)

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SUBJECT !!On a certain morning, in an unused industrial area of northern italy, seventy-two musicians from various walks of life and of various experiences, cultural background, age and nationality, are hired to work in a factory called “Unità di Produzione Musicale” (Music Production Unit). In a dressing room they are supplied with overalls and an i.d. numbers. Accordingly they gather to be instructed over the rules of their working day which lasts eight hours: they are divided in teams as an assembly line, and they have to produce music industrially.!

!Within a flow production, in a music writing department their task is to produce scripts, while in an execution department they must play what has been written in a sort of impromptu interplay. The shifting of the teams is complex, so that they may be changed every so often their roles between music writing and music performing.!

!The scheduling is rigidly established, including coffee and lunch breaks. The discipline, the timing and the logistics are controlled by foremen and other technicians.Among these a peculiar role is bestowed to the audio and video operators team: the whole day is screened by eleven cameras, not only the music production, but also what happens in the breaks, job conversations, comments, doubts, wearyness.!

!The musicians are not taken on for performing but for working: the whole operation is behind closed doors. There is no audience to applaud. For the whole day the musicians- workmen strive to keep up to the game, to overturn it or even to mock it: split between the impression that it is impossible to conceive, with the given conditions, a good music production and the obstinate effort to achieve it, as if at least a fine performance might redeem the alienating conditions imposed. !

!The contrast between the creative freedom and the compulsion of the assembly line, set off a mixed operation among a psychological experiment, performance and improvisation. The musicians that identify themselves with this role to which they are not used to, react in different manners: some with answers and others with questions. Musical and extramusical, critical or funny, analitical or instinctive. However, no one resigns.

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!DIRECTION INTENTIONS!!!The performance takes have been thought out according to the possible development that!the experiment, in its different phases and different places, might have taken. The!operators however do their work according to agreed indications, with aesthetics freedom!and suitable capability to any event that lies outside the programmed ones.!In addition, the point of view wants to recall the one of the scientists who, supplied with!instruments apt to their research, look upon the phenomenon with method.!!!The film interweaves different languages.!!!The documentary of observation with pictures and sounds in direct takes, in which the!gradual approach to what unwinds in front of the camera describes the characters not!through the classical interview, but studying the reciprocal interactions and their!relationship with the music. The fiction cinema with its use of classical instruments, like!long tracking shots in continuous movement and cameras on tripods, so as to follow best!the musicians in the different performing dynamics. The movements of these tools have!been chosen also to recall the typical mechanics and automatisms of a workshop.!The presence on stage of the audio and video operators underlines their taking active part!to the experiment, shared with the same characters filmed.!Accordingly, the scenic machine gets into action not to disclose the cinematographic fiction!but because it is an integral part of the documented reality.!!!The performance has been filmed with 11 shooting cameras by 16 cameramen in constant!turnover. The audio, in addition to ambient microphones scattered in various areas, has!been recorded by 5 professional kit booms run by 8 operators.!!!!

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CAST !!Musicians-workers !Laura Agnusdei, Alfredo Aliffi, Alfredo Fiè, Aliou Diop, Serena Altavilla, Davide Arenoso (Marlene Kuntz), Francesca Baccolini, Francesco Balatti Benza, Cesare Basile, Francesco Bianconi (Baustelle), Francesca Biliotti, Aldino Bonanno, Massimo Botter, Gianluigi Carlone (Banda Osiris), Simone Cavina, Filippo Fpunto Cecconi, Giordano Ceccotti, Enzo Cimino, Giovanni Colliva, Sebastiano De Gennaro, Gianluca De Rubertis (Il Genio), Francesco D'Elia, Dente, Gianfranco Enrietto, Niccolò Fabi, Federico Fantuz, Carlotta Favretto, Fabio Fié Ferrario (Fuzz orchestra), Giovanni Ferrario, Feyzi Brera, Giulia Formica, Mario Frezzato, Federica Furlani, Ghemon, Lino Gitto, Alessandro Grazian, Jacopo Incani (Iosonouncane), Xabier Iriondo (Afterhours), Ghemon, Gun Kawamura, Elisa La Marca, Kole Laca, Lan Morkobot, Anna Lott, Luciano Macchia, Mahmoud Saleh Mohammad, Rocco Marchi, Elizabeth McDowell, Monique Mizrahi, Enrico Molteni (Tre Allegri Ragazzi Morti), Beppe Mondini, Paolo Mongardi, Rossana Monico, Sergio Montemagno, Alberto Motolese, Cristian Naldi, Marco Parente, Maria Silvana Pavan, Miguel Micao Pawlowski, Fabio Rondanini (Calibro 35), Roberta Sammarelli (Verdena), Marco Santoro, Daniela Savoldi, Carlotta Sillano, Alessandro Asso Stefana, Alberto Stevanato, Valeria Sturba, Davide Tidoni, Vincenzo Vasi (Vinicio Capossela), Diego Villalon, Zona Mc. !!Department heads !Gianni Chi, Andrea Poggio (Green Like July), Olivia Musini, Alessandra Corbetta!

! On the occasion of the simulations and the teaser campaign for the fund-raising the! following gentlemen participated: ! Eugenio Finardi, Steve Piccolo, Ramiro Levy, Daniel Plentz e Matteo Bennici.

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THE CROWDFUNDING CAMPAIGN

!The scenic material, the musical and filming equipment, the costumes and the rental of the location have been funded through a web fund-raising, thanks to a platform of! crowdfunding. !!http://www.musicraiser.com/it/projects/734-unita-di-produzione-musicale !!

More than 17.000 euros were collected thanks to almost 400 raisers who participated to the fund-raising campaign, which was generously promoted in newspapers, webzines, radios and televisions. !!For this reason, around the movie there’s already a certain expectation, not only from the people who supported the project, but also in a wider range of audience, due to the!resonance in the media during the campaign and the participation of some well-known!Italian musicians.

Proprio una così ampia partecipazione ha permesso di avere non solo un budget per

!http://www.youtube.com/watch?v=7mYXI0Kuwqg !

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AUTHORS STATEMENT !Engage seventy-two musicians, dress them up with overalls, ask them to get into an!abandoned factory and oblige them to produce music according to fixed shifts of music!writing and execution for eight working hours. Ask them basically to wear the clothes of a!workman. Not a figure of the present, though. Not the present day workman as a figure in!transformation, in redefinition, in displacement and perhaps in extinction. Rather they are!obliged to don a no contemporary uniform, a blue overall, so that they might become a!living sign. The musician, who in the common imaginary moves in a regime of free!creation, first of all sees himself obliged to a discipline and work rhythm unusual to him.!The game, though, is more subtle, the alienation deeper: the mask he is asked to wear -!the workman in assembly line - does not have a precise referent any longer. It has become!interchangeable with all the other masks of the society, including the artist. It is said that!there is no more work, but sometimes we do not realize we work for someone both!passively while watching television, and actively when we make a research on google or!we comment on a blog. The only difference, maybe, is that for these assignments we do!not get any salary. Climbing up to the dressing room and wear a blue overall was a strong!sign, but after all a sign of equivalence. Because of this many will feel unsuitable or ill!used.!Why this game? Where will it lead us? Its nature of psychological experiment, following the Stanford Experiment or the Milgram one, has been, then, a pretext. Our guinea pigs were already instructed about the continuous symbolic exchange; they are, like everyone, trained avatars in spite of themselves. We chose some musicians, but they could have belonged to another category: and if the worst comes to the worst, even true workmen. Yet there remains the music and the attempt to get organized. Despite of it all the subjects showed themselves!disciplined, thus attached to their discipline. Did they have misunderstand? Or did they try!to resist to the equivalence being imposed upon them opposing one of their specificity?!In any way they kept working, as they are used to do. !!!!DIRECTORS STATEMENT !The documentation of the performance that took place inside the UPM Workshop has given us an insight about the visual material which only with a subsequent examination, while editing it ,has enabled us to work it out.!The nature of the project let open the possibilities that all would have been happened.!Later on observing the shots of the free experiment, we have surprisingly been able to realize and acknowledge some dinamics that evolved during the course of the eight hours of shooting.!The workers identified themselves with the work they were performing and recognized themselves in their own role and thwarted the system imposed on them striving to get self-organized.!Therefore having acknowledged this evolution, we have devised the documentary through the narration of what the characters have covered throughout the performance. !!!!!!!!!!!

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AUTHORS’ BIOGRAPHY!!Enrico Gabrielli is a musician, he plays in Calibro 35 and Mariposa and in many other!cases and situations. With the name Der Maurer brings forward a project of contemporary!music.!!Sergio Giusti, is a critic and theorist of photography. He writes and teaches photographic!language and image theory.!

!DIRECTORS’ BIOGRAPHY !!Pietro De Tilla was born in Milan where he studied photography at CFP Bauer and Documentary at Milan Film, Television and New Media School. He works as a photographer and filmmaker. In 2011, with Guglielmo Trupia and Elvio Manuzzi, he shot the documentary film Atelier Colla, selected at many international festivals. In 2012 he shots The Shift, a documentary produced thanks to the Cultural District of Camonica Valley. !Filmography!Unità di Produzione Musicale, doc., 2015, 77’, Italy.!The Shift, doc., 2012, 30’, Italy.!Atelier Colla, doc., 2011, 49’, Italy. !!Elvio Manuzzi lives and works in Milan.!He studied philosophy at Università Statale di Milano, photography at the CFP Bauer and!documentary at the Civic Schools of Milan. He works as a filmmaker. In 2011, with!Guglielmo Trupia and Pietro de Tilla, he shot the documentary film Atelier Colla, selected!at many international festivals. In 2012 he shots The Shift, a documentary produced!thanks to the Cultural District of Camonica Valley. !Filmography!Unità di Produzione Musicale, doc., 2015, 77’, Italy.!The Shift, doc., 2012, 30’, Italy.!Atelier Colla, doc., 2011, 49’, Italy.!!Tommaso Perfetti was born in Milan, where he currently lives and works. !He studied photography and video documentary direction. Since 2004 he has been!working as free-lance video-maker and consultant for Museum of Contemporary!Photography and AESS Archive of Ethnography and Social History. In 2012 he shots The!Shift, a documentary produced thanks to the Cultural District of Camonica Valley.!Filmography!Unità di Produzione Musicale, doc., 2015, 77’, Italy.!The Shift, doc., 2012, 30’, Italy.!!!EDITOR’S BIOGRAPHY!!Guglielmo Trupia is a filmmaker and editor in Milan. He studied at the John Kaverdash Academy of Photography and at the Fondazione Milano Film and Television. He works with many documentaries directors.!Filmography!Unità di Produzione Musicale, doc., 2015, 77’, Italy.!The Shift, doc., 2012, 30’, Italy.!Atelier Colla, doc., 2011, 49’, Italy. !!!

EXECUTIVE PRODUCTION

ENECEfilm

!ENECEfilm is an audiovisual production group based in Milan, composed by Pietro De Tilla, Elvio Manuzzi, Tommaso Perfetti, Guglielmo Trupia and Chiara Tognoli. ENECEfilm devotes itself to represent the reality.

Biofilmography: !

!Atelier Colla!!Direction: Pietro De Tilla, Guglielmo Trupia, Elvio Manuzzi. Editing: Pietro De Tilla,!Guglielmo Trupia, Elvio Manuzzi. Audio editing: Paolo Romano. Audiomix: Massimo!Mariani. Color grading: Bruno lombardi Production: Fondazione Civiche Milano.!Distribuited by: Bertafilm. Country: Italia. Year: 2011. Duration: 49’. !Festivals: ViaEmiliaDocFest 2011, Milano Film Festival 2011, LIDF London Internation!Documentary Festival 2012, Bergamo Film Meeting 2012!

!Il Turno / The shift!!Direction: Pietro De Tilla, Elvio Manuzzi, Tommaso Perfetti. Editing: Chiara Tognoli. Audio!editing: Paolo Romano. Audio postproduction: Massimo Mariani. Title design: Edda!Bracchi. Production: Distretto Culturale Valle Camonica in collaboration with Lab 80 film.!Distribuited by: LAB80film. Country: Italia. Year: 2012. Duration: 33’.!Festivals: Visions du Réel 2013, Trento Film Festival 2013, Milano Film Festival 2013!!!!!!LINKS !!https://www.facebook.com/unitadiproduzionemusicale !http://www.enecefilm.com/upm !!!!ENECE Via Paullo 6 20135 Milano info@enecefilm.com +39 02 39521694 +39 340 4862322 enecefilm.com