Some lives seem like stories written by fate, but in reality, they are shaped by determination and a clear vision. Stefano Muroni—actor, screenwriter, producer, and cultural entrepreneur—is a perfect example. From his childhood in Ferrara to his studies at the Centro Sperimentale di Cinematografia, and ultimately to the creation of a thriving film ecosystem in his hometown, Stefano has turned his passion into a lifelong project that blends art with entrepreneurship. REMIDA sat down with him to talk about dreams, creativity, and the courage to carve out one’s own destiny.
REMIDA meets STEFANO MURONI
F: Stefano, thank you for being here with us. Let’s start from the beginning: how did you decide to enter the world of cinema and acting?
S: I was incredibly fortunate in a way that not all children are—I knew from a very young age what I wanted to do with my life. Even at five years old, I would say, “When I grow up, I’ll be an actor.” I even wrote it in my secret diary, which I still have to this day. When people asked me why, I didn’t have an answer. I came from a modest family: my mother was a teacher, my father a policeman, and my grandparents were workers. Yet, there was always an inner voice telling me, “This isn’t it.” So, between the ages of six and eighteen, I devoted myself entirely to that dream. In Ferrara, I took every opportunity I could find—conservatory, music and performance, even an adult theater course. But when Ferrara could no longer offer me anything, I packed my suitcase at eighteen and moved to Rome, determined to earn a place at the Centro Sperimentale di Cinematografia.
F: And how did it go?
S: I went through the admissions process, did countless auditions, and in the end, I was accepted—personally selected by Giancarlo Giannini. For the first time, I saw a dream come true. During my time there, I had the incredible opportunity to meet legendary figures like Woody Allen, Ennio Morricone, and Bernardo Bertolucci. But after graduation, reality hit hard—no one called me. No directors, no casting agents. It was a paradox. I had been one of only eight students selected, yet it felt like there was no place for me in the industry. Many of my classmates gave up and returned to their hometowns. I refused. Instead, I chose to become the entrepreneur of my own creativity. I wrote and produced my first short film, 30 e lode, followed by the medium-length film Tommaso, starring Monica Guerritore and Giulio Brogi. Then came my first feature film, La notte non fa più paura, which told the story of the Emilia Romagna earthquake.
F: You decided not to wait for someone to call you, but to build your own path. How important has this approach been for your career?
S: It has meant everything to me. I realized that if no one recognizes your worth, you have to recognize it yourself. After my first film, I founded the production company Controluce Produzioni, through which I developed projects like Oltre la bufera, about the life of Don Giovanni Minzoni, and Il soldato senza nome, which delves into mental illness during World War I. Oltre la bufera, along with La notte non fa più paura, was acquired by Rai, while Il soldato senza nome was released in cinemas across Italy. But I didn’t stop there. I wanted to build a true cultural ecosystem in my hometown of Ferrara. That’s why I founded Ferrara, la città del cinema, an initiative that brings together theater schools, film programs, and educational projects. Today, our Blow-up Academy has 220 students from 14 different regions of Italy, many of whom have already taken their first steps into the film industry through our productions.
F: Do you define yourself more as an artist or as a professional?
S: I don’t consider myself an artist, at least not according to my idea of what an artist is. For me, artists were figures like Michelangelo Antonioni or Gian Maria Volonté. I see myself more as an entrepreneur of creativity. Of course, there’s a lot of art in what I do, but I mainly see myself as a professional who lives off his work and stories. Maybe I’m a channel: the stories find me, and I feel the duty to tell them.
F: When you tell a story, what’s the most important part for you?
S: When a story strikes me, I never think about the message I want to convey. I feel a deep inner calling that a story needs to be told. I’m not concerned with whether it will succeed or if it will find a market. It’s an urgency, like a longing for the eternal. I like to think that, maybe a hundred years from now, someone will still watch my films. It’s a connection with eternity that drives me to keep going.
In a world where opportunities don’t always come naturally, Stefano chose to create them, reinventing himself and inspiring others to do the same. Every dream, to become a reality, needs to be told. Be the one who does it, and write us at info@remidastudio.com
