The most surprising, and satisfying, aspect of this collaboration with Aldo has been, to me, the creative process that led us to create the score for Brave Naked.
The first word I recall Aldo uttering about it was: electric guitar. Which left me just as fascinated as intimately floored.
On one hand, having being trained as a pianist, no instrument could have scared me more as a composer than the maze of technical and timbre possibilities that an electric guitar is. On the other, I was immediately fascinated by those very potentialities that had always got me so wary towards an instrument I actually loved, today more than ever, for that dirty sound, a little irreverent if not even subversive, that it gets through distortion.
The second element that sprang from our conversations had the form of a constellation of words and references that somehow expanded the Hollywood concept of 'temp track' (the temporary track a composer normally finds in his copy of the film as a general guide from the director, quite a bogeyman to every composer). This generated a wide-ranging exchange that touched the Jethro Tull, London at the end of the Sixties, the folk music of England, the pizzicato of the Stroh violin, John Scofield's sound and his peculiar way to kind of 'half-bite' the notes, the different types amplifiers hence distortions, Bob Dylan (obviously!), Abbey Road and much more.
From all these clues I took what guided my work, shaped it technically, and led me designing the territory where to find the main theme of the story—ultimately, some sort of a musical version of the innocuous, yet dangerous, bittersweet apathy of Vince and his life.
And since every fear is rather to be faced than escaped, I thought I could use not just one guitar, but five, mixing electric, acoustic and classic.

Fabrizio Gagliardi lead guitars
Michele Tacchi electric bass
Alessandro Ponti organ & programming
Jake Jackson score engineer