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Boris: Tv Inception

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Boris: Tv Inception


La televisione italiana ha sfornato poche serie televisive degne di nota nell'universo mondiale che invece si sta dimostrando sempre più florido e sviluppato. A parte Gomorra, Suburra, Romanzo Criminale, 1992, che comunque, eccetto per la realizzazione, a livello di trama si lasciano spesso liberamente ispirare dalla cronaca del nostro Paese, esiste una quinta produzione che personalmente ho apprezzato moltissimo: Boris.


La cosa migliore di Boris credo, è che sia l'unico esercizio di comicità italiana che non è demenziale. La serie vede la situazione televisiva e cinematografica italiana con enorme lucidità e ironica drammaticità. A parte per il cast eccezionale e capace di riscattare la boriosità della recitazione all'italiana, un tratto veramente entusiasmante è il sarcasmo con cui si affronta il tema principale della serie. La storia ruota attorno alla troupe e al cast di una classica serie tv all'italiana e propone la vita dietro le quinte della realizzazione del prodotto televisivo tra cinismo e la rassegnazione.


La verità è che prima di vedere la serie non avevo idea di come funzionasse il mondo della televisione, quello che ben sapevo è che era evidente ci fosse qualcosa di profondamente sbagliato se i risultati che si ottenevano erano quelli che andavano in onda sulla televisione generalista. Dalla congiunzione di questi due elementi mi è stato immediatamente lampante quale fosse la consecutio logica del processo che conduceva a queste drammatiche produzioni. La simpatia che ispirano i personaggi, categoricamente tutti “de Roma”, e il rocambolesco background presentato, sono stati la miccia che mi hanno inizialmente avvicinato al mondo della televisione. Lo so, sono un'inguaribile amante del grottesco.


Dal momento che comunque, mi è sempre più evidente che Boris sia in grado di spiegare come funziona un set televisivo meglio di qualunque altro testo universitario può essere utile riassumere gli archetipi di frustrazione che si possono trovare su un set:

  • Il produttore: se la frustrazione avesse un lavoro quel lavoro sarebbe il produttore. Ovviamente è il mio ruolo preferito su un set. Il produttore tiene i fili di tutto il progetto, a partire dalla gestione del budget ai contatti con qualunque individuo che la cui esistenza venga in qualche modo intaccata dalla produzione. Sostanzialmente un'ulcera gastrica ambulante.
  • Gli autori: gli autori sono queste meravigliose creature creative che partoriscono l'idea, la ricerca e lo sviluppo del programma. Possono essere dei ricercatori super seri con un milione di competenze... o possono essere come quelli rappresentati da Boris.
  • Il regista: sul set dovrebbe essere un po' il re. Da' il tono alla produzione con le sue idee e cerca di mantenere l'armonia tra tutte le strane creature che lavorano con lui. A una buona regia dovrebbe essere consequenziale una buona riuscita del progetto. Ma non dimentichiamoci mai che c'è sempre di mezzo il giusto contrappeso della produzione a mantenere le più rosee speranze del regista con i piedi ben ancorati al suolo.
  • Assistente alla regia: altro ruolo che amo è l'assistente alla regia. Sostanzialmente un primo cavaliere che si prende tutti gli sbatti del caso e poi il merito di tutto è attribuito al regista. Una figura tanto romantica quanto devastata dalla vita. Un Cyrano de Bergerac dei nostri giorni se vogliamo.
  • Segretaria di edizione: se sorvoliamo sul sessismo dovuto al fatto che in ogni libro troverete scritto “segretaria” e mai “segretario” di edizione, il ruolo che ricopre questa figura è abbastanza vitale. È un braccio destro del regista che non ha tempo, voglia o lo zelo necessario ad analizzare durata, dettagli e particolari della scena che si sta girando e che poi dovrà per essere messa agli atti sul bollettino di edizione giusto per evitare di fare un enorme gigantesco casino. Qui subentra la segretaria di edizione.
  • Direttore di fotografia: sapete quando una scena sembra naturale o con carattere o azzeccata? Ecco buona parte di questo è da attribuire al direttore della fotografia che segna la separazione tra un “Mad Man” e “Un Posto al Sole”. Decidere come usare la luce è fondamentale anche perché spesso le location possono non essere esattamente le più azzeccate per questioni di budget magari, una buona fotografia può risolvere il problema.
  • Stagista: Ah, che meravigliosa posizione quella dello stagista. Ciò che mi sembra più emblematico è che in Boris lo stagista venga chiamato, a seconda di con chi si interfacci, “merda” o “seppia”, così, senza motivo, per ricordargli che è sempre, irrecuperabilmente, l'ultima ruota del carro.

Francesca Poletti

Boris: Tv Inception


The Italian television has produced few tv series worthy of note in the world universe that instead is proving more and more prosperous and evolved. Apart from Gomorra (Gomorrah), Suburra (Suburra: Blood on Rome), Romanzo Criminale (Criminal Romance), 1992, that however, except for the realization, at the level of the plot they are often freely inspired by the chronicle of Italy, there is a fifth production that I have personally appreciated very much: Boris.


The best feature of Boris I think, is that it's the only exercise of Italian comedy that is not absurd. The series sees the Italian television and cinematographic situation with enormous lucidity and ironic seriousness. Except for the exceptional cast and able to redeem the bossiness of Italian-style acting, a truly exciting trait is the sarcasm with which the main theme of the series is dealt with. The story tells about the troupe and the cast of a classic Italian-style tv series and shows the life behind the scenes of the realization of the television product between cynicism and the resignation.


The truth is that before watching the series I had no idea how the world of television worked, what I knew well is that it was evident that there was something fast wrong if the results obtained where those that were broadcast on the generalist television. From the conjunction of these two elements it was immediately clear to me what was the logical consequence of the process that led to these dramatic productions. The sympathy that inspire the characters, categorically all “from Rome”, and the exciting background presented, have been the fuse that initially approached me to the world of the television. I know, I'm an incurable lover of the grotesque.


Since that however, it's increasingly clear to me that Boris is able to explain how it works TV set better than any other university textbook can be useful to summarize the archetypes of frustration that can be found on a set:

  • The producer: if the frustration had a job that job would be the producer. Obviously it's my favorite role on a set. The producer keeps the threads of the whole project, starting from the budget management to the contacts with any person whose existence is in any way affected by the production. Basically a walking gastric ulcer.
  • The authors: the authors are these wonderful creative creatures that give birth to the idea, the research and the development of the program. They can be some super serious researchers with a million skills... or they can be like those represented by Boris.
  • The director: on the set he should be a bit like the king. He sets the tone to the production with his ideas and he tries to keep the harmony between all the strange creatures that work with him. At a good direction should be consequential a good success of the project. But let's never forget that there is always the right counterweight of the production to keep the director's rosy hopes with their feet firmly anchored to the ground.
  • First assistant director: another role that I love is the first assistant director. Basically a first rider who takes all the slams of the situation and then the merit of everything is attributed to the director. A figure as romantic as devastated by life. A Cyrano de Bergerac of our time if we want.
  • Edition Secretary: if we overlook the sexism due to the fact that in very book you will find written “female secretary” and never “male secretary” of edition, the role that holds this figure is quite vital. She is a right-hand man of the director who has no time, desire or the necessary zeal to analyze duration, details and parts of the scene that is being shot and which will then have to be put on record on the edition bulletin just to avoid making a huge gigantic mess. Here the secretary of edition takes over.
  • Director of photography: do you know when a scene seems natural or with character or appropriate? Here a good part of this is to be attributed to the director of photography that marks the separation between a “Mad Man” and “Un Posto al Sole” (A Place in the Sun). Deciding how to use the light is important also because often the locations may not be exactly the most appropriate for budget issues perhaps, a good photograph can solve the problem.
  • Intern: Ah, what a wonderful position the one of the intern. What seems most emblematic to me is that in Boris the intern is called, depending on the person with whom he interacts, “shit” or “cuttlefish”, so, for no reason, to remind him that he's always, irretrievably, the fifth wheel.

Francesca Poletti

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