PRODUCED AND DIRECTED BYMARCO PROSERPIO

NARRATED BYIGGY POP

In 2007 Banksy slips into Palestine to paint on the West

Bank Barrier. Someone takes offence at a piece depicting an

Israeli soldier checking a donkey’s ID. A local taxi driver

decides to cut it off and sell it on eBay. What follows is a

story of clashing cultures, art, identity, theft and black

market. It is not one story, but many. Like Banksy’s art

would be meaningless without its context, so the absence

of it would be meaningless without an understanding of the

elements that brought his artwork from Bethlehem to a Western

auction house, along with the wall it was painted on.

IT’S ONE OF THENASTIEST THINGS

YOU CAN HITSOMEONE WITH.

A WALLIS A VERYBIG WEAPON

BANKSY / Street Artist

“

”

FIRST OF ALLI SAY TO BANKSY:YOU ARE NOTVERY FAMOUSIN PALESTINE”

“

WALID “THE BEAST”/ Taxi Driver

BANKSY CAME FROM NOWHERE.IS HE THE ROBIN HOOD OF TODAY?”

“

VERA BABOUN / Former Mayor of Bethlehem

Five years later, director Marco Proserpio goes to Bethlehem

to meet local artists and activists (including Slimane

Mansour and Wisam Salsaa) as well as taxi driver and body

builder Walid “The Beast”, the man who had the idea to cut

Banksy’s piece and helped his old friend and former boss

Canawati cut it and sell it via eBay for $100K.

After that first meeting, Proserpio starts following the

wall around the world: in Denmark, where it’s first shipped;

in London, where it currently sits; and finally in Los

Angeles, where it’s auctioned in 2015.

The more he travels back and forth between Bethlehem and the

rest of the world, the more he talks to people with strong

opinions about this matter, the less the story becomes

about this particular painting which in turn becomes a sort

of symbol of what street art was supposed to be and might

never be again.

“The Man Who Stole Banksy” starts as the story of the

Palestinian perspective on the most important street artist

of his time but soon turns into the discovery of an extensive

secret market of walls and paintings stolen from city

streets around the world, cultures meeting and clashing

in the face of an unsustainable political situation and

of course the ongoing debate around commercialisation vs

preservation in Street Art. It’s not a single story, but

many.

Just like Banksy’s art would be meaningless without its

context, so the absence of it, the baffling theft of it,

would be meaningless without an understanding of all

the moving parts that brought a particular artwork from

Bethlehem to a Western auction house along with the wall

it was painted on.

The story is told through interviews with art collectors

and dealers, restorers and curators, copyright lawyers and

street artists, and of course the people of Bethlehem.

The film starts in 2007, when Banksy and 14 fellow street

artists went to Bethlehem to paint on the West Bank Barrier,

put Palestine in the spotlight again and raise funds for

local artists and art students through the Santa’s Ghetto

gallery.

One of the many paintings Banksy did in Bethlehem, “The

Donkey With The Soldier”, proved to be so controversial

that a local businessman called Maikel Canawati decided to

cut it and sell it.

Synopsis

In Bethlehem, the then City Mayor, Vera Baboun explains

Proserpio how much Banksy and his paintings mean for the

Palestinian cause; in London the artist former manager,

Steve Lazarides tells him about the importance of context

in street Art; while in New York and Paris, art collector

Stephan Keszler and art historian Christian Omodeo, coming

from two completely different angles, insist on the

irrelevance of context when it comes to art.

Another perspective on Street Art and its illegal removal

comes from two more sources: Paolo Buggiani, 80 year-

old Italian artist, and Philip Teuchtler, an Austrian

collector.

Buggiani tells Proserpio how he went around New York in the

80s removing Keith Haring pieces from the subway walls way

before anyone considered them art, let alone valuable, and

still has them all in his studio. He never sold a single

one of them.

Teuchtler tells him that his main activity is going around

and removing or otherwise acquiring Street Art pieces, but

not for any kind of profit. He is truly passionate about the

art and loves collecting it. The way he sees it, he is a

kind of artist too.

Another key moment for the story is the segment filmed in

Bologna, Italy where street artworks peeled off the city

walls are on display there but this time it’s not for profit,

it’s for the controversial “Banksy & Co.” exhibition.

One of the main artists featured there – once again against

his will – is Blu, one of only two Italian artists to have

taken part in Banksy’s Santa’s Ghetto project in Palestine

in 2007. The segment ends with images of the artist Blu

erasing his original work from the city walls to protest

the exhibition.

Finally, ten years after his first visit, Banksy and his

crew return to Bethlehem to launch their new artwork: the

Walled Off Hotel. Proserpio decides to go back to the Holy

Land as well to meet locals one last time and ask them what

they think about it.

While the mainstream – collectors, dealers, even critics

– is still trying to figure out ways to interpret, market

and profit from street art, the piece with the donkey and

the soldier cut off by Canawati and Walid is still unsold,

lying in a London depot along with a bunch of other Banksy

originals, and the West Bank Wall is still there to remind

us all of the Palestinian question and the situation in

the Holy Land.

In the meantime the elusive street artist once again leads

the way, pushing boundaries and potentially offering a new

definition of what street art is meant to be: the action

that originates a piece and the chance to experience it for

the first time rather than the piece itself.

With “The Man Who Stole Banksy” director, Marco Proserpio

doesn’t want to express a specific opinion in the debate;

it’s up to the audience to make up their own mind. His goal

is to simply ask the question: if Street Art is ephemeral

by definition, should it be allowed to disappear as the art-

ists intended to or should it be preserved for posterity?

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“

I started following Street Art out of personal interest.

In my youth years most of my friends used to cover their

faces to evade CCTV cameras and jumped on walls to paint on

a train, knowing they would only see their artwork in the

light of day once – as the train ran by the next morning –

before it was erased.

This is what always fascinated me: the fact that it’s an

ephemeral kind of art, born out of poor materials and

indissolubly bound to the action that originates it. It

is also the only recognised artistic movement that is

completely illegal and therefore destined to disappear.

The original idea of the film came after a chance meeting

with Walid, the body-building Palestinian taxi driver who

was my very first encounter once I passed the Bethlehem

check point. Walid was part of a group of people who

stole a whole house wall with a Banksy painted on it and

proceeded to sell it on Ebay.

This accidental meeting introduced me to a theme that

soon after would develop, with varying and fascinating

implications, throughout the rest of the world. As I

began my research, I realised how that same issue can be

interpreted in very different ways, and how its ethical

justifications and explanations can vary drastically from

country to country, depending on cultural and economic

priorities.

What I found most interesting is the way the art establishment

tries to desperately fit street art within its categories

(thus making it portable, and sellable, even if it’s on

four tons of concrete). As I went through the footage I

gathered, sometimes I could almost feel the wheels of the

mainstream grinding to a halt. Trying, and failing, to

metabolise something completely foreign. Completely new.

The film tackles themes of copyright (Does the artwork belong

to the artist or to the public? Can the traditional laws

of the market apply when no street artist has, or indeed

can have without facing legal prosecution, a canon?),

of safeguarding the art itself (Should it be allowed to

disappear, as the artist intended? Does it mean the same if

removed from its chosen context?) and of what will be left

of this artistic revolution once the dust settles.

“The Man Who Stole Banksy” is a multi-format documentary

mixing last generation HD cameras along with some inserts

shot on mini-dv cameras, recorded at the time of the

removal, archive photos and gfx.

The documentary also mixes traditional Middle East sounds

with modern electronic music and dub, underlining the clash

between different cultures.

Marco Proserpio

Director’s Note

Posters

Alison Young (Professor of Criminology – London)

Carlo McCormick (Culture Critic / Curator / Editor

– New York) Steve Lazarides (Former Banksy Manager – London) Luke Treviskis (Publicist – Liverpool)

Tony Braxter (Collector – Liverpool) Stephan Keszler (Collector – Southampton) Robin Burton

(Collector / Bankrobber Gallery Owner – London) Ray Mock (Photographer – Paris) Rafael Schacter (Anthropologist – London) Christian Omodeo (Art

historian - Paris) Vera Baboun (Former Bethlehem

Major – Bethlehem) Alaa Al-Shalabi (Police Officer – Bethlehem) Ziad Khateeb (Police Officer – Bethlehem)

Paulos Allam (Priest – Bethlehem) Ibrahim Saleh Abu Laban (Musician – Bethlehem) Paolo Buggiani (Artist / Performer / Collector – Rome)

Philipp Teuchtler (Collector / Artist – Wien)

Laith Nafal (Rapper – Ramallah) Alaa Almasri (Rapper – Ramallah) Good Guy Boris (Street artist - Paris) Camillo Tarozzi (Restorer – Bologna) Luca Ciancabilla (Curator – Bologna) Patrizio Roversi Monaco (President of Genus Bononiae – Bologna)

Walid “The Beast” Zawahrah (Taxi Driver – Bethlehem) William Parry (Photographer – Oxford)

Ron English (Artist - New York) Peter Kennard

(Artist - London) Slimane Mansour (Artist

– Jerusalem) Gee Vaucher (Artist - London)

Wisam Salsaa (Artist – Bethlehem) George N. Rishmawi (Director Rapprochement Center – Bethlehem) Abu Yamen (Banksy Shop owner – Bethlehem) Ayed Arafah (Artist – Bethlehem) Mikael Canawati (Former owner of the wall – Bethlehem) Majd Abdel Hamid (Artist – Ramallah) Katrin Ahmad (Rapper –

Ramallah) Bashar Zarour (Graffiti Artist – Ramallah) Sami Zarour (Graffiti Artist – Ramallah)Hamza Abu Ayyash (Artist – Ramallah) Aysar Saifi (Artist – Bethlehem) Françoise Vergès (Anthropologist - Paris) Peter Hvidberg (Co-owner

of the wall – Copenaghen) Monique Har-El (Gallerist – Tel Aviv) Shams Aldeek (Rapper – Ramallah) Lee Bofkin (Artist – London) Annabelle Gauberti (Lawyer – Paris) Solomostry (Street artist - Milano)

Canemorto (Street Artist Crew - Milano)

Characters

1. WALID “THE BEAST”a taxi driver, body-builder and part-time bodyguard

for local businessman and Bethlehem heavyweight Maikel

Canawati. It was Walid who first suggested his boss to

cut off the wall and sell it. It was Canawati who sold

it to Western collectors for $100,000. After the sale,

the two fell out and are still in bad terms to this day.

2. MAIKEL CANAWATIa Bethlehem merchant who used to be Walid’s boss until the

two of them decided to cut off and sell “The Donkey With

The Soldier”.

3. STEPHEN KESZLERa NY-based collector who used to sell real estate in the

Hamptons and now sells Banksy walls.

4. PAOLO BUGGIANIan Italian artist and performer but also a

controversial collector who saved the early drawings

by Keith Haring in the New York subway in the 70s

and never sold a single one of them to this day.

5. PHILIPP TEUCHTLERa young man from Vienna who collects street art without

profit in mind, and says that by removing the artworks he’s

also creating an art work ad committing an illegal act.

6. CAMILLO TAROZZIa Bolognese art restorer who endeavours to save street

artwork in a decommissioned warehouse.

6.

1.

5.

3.2. 4.

Main Characters

portait by Masayoshi Sukita

Iggy Pop is one of the true icons of rock and roll. Born

James Newell Osterberg in Michigan in 1947, in the late

60s he teamed up with the Asheton brothers and started The

Stooges, one of the most influential bands of all times.

After the band first called it quits, following the infamous

“Metallic KO” live album, in the mid 70s he moved to Europe

with his friend and collaborator David Bowie. He kept

recording throughout the 70s, 80s and 90s and once the new

millennium started he was somehow reborn. With at least

two generations of artists influenced by is persona, his

voice, his songs, his outrageous and sometimes dangerous

stage antics, in 2003 he reformed The Stooges and started

touring around the world. In 2015 he launched his radio

show and podcast “Iggy Confidential” on BBC 6 Music and in

2016 he released one of the best rock albums of the year,

“Post-Pop Depression”. His many film collaborations include

“Coffee And Cigarettes” by Jim Jarmusch, the documentaries

“Danny Says” and “Gimme Danger” and the experimental film

“Song To Song” by Terrence Malick, where he plays opposite

Michael Fassbender. He currently lives in Florida with his

partner Nana Alu and his Instagram star cockatoo, Biggy Pop.

IGGY POP

TALENT / Narrator

Italian director Marco Proserpio has been involved in film,

television and advertising since the age of 20, when he started

working at MTV Italia. Soon after leaving MTV he started

directing for television, short films and commercials. His

corporate clients include Pirelli, Campari, Jeep, Diesel,

Sony. In November 2016, Proserpio directed the film “The

Story Of Our Guardians” produced by Balich Worldwide Shows

for the 45th UAE National Day. His most recent projects

include the short film “Toys” and the feature documentary

“The Man Who Stole Banksy”.

MARCO PROSERPIO

TALENT / Director

Director of Photography

Jacopo FARINA

Live Sound

Matteo PANSANA

Edited by

Domenico NICOLETTI

Associate Producer

Chiara Andrea Cima

Original Music

Federico DRAGOGNAMatteo PANSANA

Vocals by

Victor KWALITY

Art Direction & Graphic Design

Paolo PROSERPIO & Jacopo FRIGERIO

Logo & Web Design

We Eat Together

THE MAN WHO STOLE BANKSY

Directed by

Marco PROSERPIO

Narrated by

Iggy POP

Written by

Marco PROSERPIO

Co-written by

Filippo PERFIDOChristian OMODEO

Produced by

Marco PROSERPIOFilippo PERFIDO

Executive Producers

Lucia NICOLAIMarcello PAOLILLO

Credits

Victor Kwality appears courtesy of Sugar S.r.l.

Post Production SupervisorMAXIMILIEN ZAGANELLI

Post Production CoordinatorSTEFANIA CORSINI

Narration Recorded atELITE MUSIC STUDIOS (Miami) / BEEMEDIA (Milano)

InsuranceBEAZLEY

Additional Footage Courtesy ofALESSANDRO ALBANA / AUGUSTO DE LUCA / BBC WORLD

DANIEL LAHODA / DAVID GILL / EMANUELE ROSSO / FABIANO

CAPUTO / GETTY IMAGES / HIGHLIGHT FILMS / JULIEN’S

AUCTIONS / MARIAGRAZIA SALVADOR / MATTHEW KALMAN

AND DAVID BLUMENFELD / PETER HVIDBERG / SAMUELS

MEDIA / SIMONE SBARBATI / SINCURA GROUP / STEFANO

TAURINO / WALID ZAWAHRAH

Stills Courtesy ofGARY SHOVE (CARPET BOMBING CULTURE)

PETER HVIDBERG

MATTHEW KALMAN AND DAVID BLUMENFELD

YOSSI ZAMIR / MONIQUE HAR-EL

HOCKEN COLLECTION (UNIVERSITY OF OTAGO, NZ)

WILLIAM PARRY

Worldwide SalesELLE DRIVER

AnimationMATTEO TOFFALORI

Additional CameraALVIN SONIC MOJETTA / ANGELO LITO D’ACUNTO

JOSHUA JAMES SEREDAY / PIETRO COPPOLECCHIA

Live Sound / Sound DesignMATTEO PANSANA

Legal CounselGIULIO VECCHI

Story EditorLuca Speranzoni

SubtitlesMASSIMILIANO MORINI

Bethlehem FixerSALAH ABU LABAN

TranslatorsNIJMI EDRES / SALAH ABU LABAN / DIRAR TAFECHE

Post ProductionARTECH DIGITAL CINEMA S.r.l. (Milano)

Color GradingANNA VISIGALLI

Sound MixPAOLO PICCARDO

This motion Picture photoplay is protected pursuant to the provisions of the laws of the United States of America and other countries. Any unathorized duplication and/or distribution may result in civil liability and criminal prosecution.

Our Thanks toACORIS ANDIPA / ADAM KOUKOUDAKIS / ALESSANDRO

CAMNASIO / ALESSIA MOSCI / ANDREA LONGONI / ARNAUD

OLIVEUX / BARNABA PONCHIELLI / BASHAR ZAROUR / BEPPE

CAMISASCA / CESARE BETTINI / CINZIA SARTO / CLAUDIO

BELLANTE (IL CAPO FILM) / CRISTIANA BERGAMASCO /

FABRIZIO CONTE / FEDERICO SCUDELER / FILIPPO BASILE

/ GABRIELE CALVI / HADAS FOGEL / JAMES CAUTY / LORIS

GENTILE / LUCA BORRIELLO / LUCA PAGETTI / LUIGI CIPPINI

/ MANFREDI LUZE BRUNELLI / MARTYN REED / MATTEO

PETRUCCI / MATTIA MUGLIA / MICHELE BATTISTA COMI /

NICOLA ANTONAZZO / RADIO CITTÀ DEL CAPO / SALVATORE

VELOTTI / SAMI ZAROUR / SCOTTISH DOCUMENTARY

INSTITUTE / SEAN CORCORAN / SIMONA SCARCELLA /

STERVEN JONGER HQ / TOMMASO ORLANDI / TRISTANO

ORLANDI / WILLIAM PARRY / WU MING FOUNDATION

IGGY POPAPPEARS COURTESY OF THOUSAND MILE, INC

IGGY POPIS REPRESENTED BY HENRY MCGROGGAN FOR CEO

Music“NO BORDERS” / “YOU ARE NOT VERY FAMOUS IN

PALESTINE” “WHO’S THE LAW” / “MY LUCKY DAY” / “FAR

AWAY FROM HOME” / “NEW CHURCH” / Words & Music by

Federico Dragogna and Victor Kwality / Performed by Federico

Dragogna and Victor Kwality

“THE PEOPLE WHO TAKE THIS ACTION” / Music By Federico

Dragogna / Performed by Victor Kwality / Words by Wu Ming

/ (excerpt from an article originally published in Internazionale,

March 2016)

“CHOPIN IS A MATE” / “STEAM THEME” / “A DJANGO GUY”

“AFTER THE SUBBER” / “DONKEY THEME” / “FINALLY” / “ART

THEME” / “GIANT ELKA” / “CANAWATI THEME” / Music by

Federico Dragogna / Performed by Federico Dragogna

“SOLD AND SHIPPED” / “NO LONGER WITH US” / “THE

BOLOGNA AFFAIR” / Music by Matteo Pansana / Performed by

Matteo Pansana

“MOSAIC THEORY” / “THERE IT IS” / “THROW ME A FLOWER”

“A LESSON FROM THE PRIEST” / “FROM A TO B” / Music by

Matteo Pansana / Performed by Matteo Pansana and Saleh Abu

Laban

“ABU HADI” / Music by Saleh Abu Laban / Performed by Ibrahim

Saleh Abu Laban

Recipient of post-production grant from

In Association with

In Collaboration with

themanwhostolebanksy.com

press book layout / paolo proserpio

ELLE DRIVER66 rue de Miromesnil - 75008 Paris - France

T. +33 1 56434870sales@elledriver.eu - elledriver.eu

Contacts

MARCO PROSERPIOT. +39 3404105543

stervenpictures@gmail.com

themanwhostolebanksy.com