A sense of responsibility, strong determination, and a legitimate fear of rejection. Above all, the desire to live without regrets: Elia Nuzzolo recently portrayed two giants of the Italian scene, Max Pezzali in “Hanno Ucciso L’Uomo Ragno” and Mike Bongiorno in “Mike”.

Two performances of transformation, both widely impactful, exploring the balance between person and character, and between strong personalities. Elia morphs, finds his points of connection, studies the differences, and lets himself be guided by his great passion for acting. That same passion and determination are what he uses to break down barriers and go far, without ever stopping to learn and always with faith in himself.

It’s an attitude that will take him everywhere…

What’s your first memory tied to the world of cinema?

The memory I recall most vividly is one of the first times I went to the cinema with my mom to see “The Chronicles of Narnia.” It was pretty traumatic: I remember the scene where they kill the lion and also torture him, ripping off his mane, and I, being very young, covered my eyes for a long time. Still, I’ve always loved that movie, even though it was quite the baptism of fire.

This year, you played two icons of the Italian scene, Max Pezzali and Mike Bongiorno. How did you prepare for these roles, and how did you handle the sense of responsibility that comes with such significant acting challenges?

The sense of responsibility was there, and it was strong because they are both beloved figures. In both cases, my first approach was to read their autobiographies. At the same time, I had to reckon with their greatness. Ultimately, the solution I found was to consider and study them as if they were two twenty-year-olds with their dreams, fears, and ambitions—trying not to focus too much on who they became but rather connecting with them as if they were my peers.

“I had to reckon with their greatness”

Did you find any traits in common between your own experience and that of Mike and Max to bring forth such an authentic and sincere portrayal, to make them your own as characters?

Yes. In Mike’s case, I was struck by his determination to realize a dream and his deep passion for something specific—communicating with people—which I share with him. I also found this in Max, whose music and writing were his driving forces. In all three cases, including mine, a strong passion for something can break down external and psychological barriers—a phenomenon and need that the three of us share.

With Max, his shyness and reserved nature stood out. I’m a bit like him, and I use acting to overcome that kind of barrier.

Max and Mauro are a bit like the “misfits” from the provinces who, overnight, become a national phenomenon that will resonate through time and across generations. It’s a testament to the idea that anyone can achieve extraordinary things, that where there’s a will, there’s a way, even if things don’t work out on the first try. What does this sentiment represent for you in your acting journey?

In the acting profession, this is a recurring mechanism: the desire to succeed, but also the impression and fear of never quite making it. In the process of auditioning for a film, for example, an actor must first make peace with the possibility of rejection and failure. When the “green light” doesn’t come—like Matthew McConaughey says in his autobiography—you have to get back up and try again. The skill lies in staying upright even during less positive periods.

How do you personally deal with failure?

Over the years, after my experience at the Centro Sperimentale and then starting to work on set, failure transitioned from being “something inevitable” to “something to seek out.” When preparing a scene or a character, if you play it safe, you’ll likely do a “well-done job,” but you won’t add that special touch that comes from unpredictability or the extra spark you’d achieve by taking more risks, even if you might fall. It’s that precariousness, however, that gives birth to the most beautiful things.

What was it like immersing yourself in the 1990s? You were born in 2000, but is there something from that era you wish you had experienced or that you wish were still around today?

I loved the total absence of social networks. It’s not my world; social media doesn’t excite me, so that’s one aspect of the ‘90s I really enjoyed experiencing. The fantastic set design also helped me fully immerse myself in the era of the story.

What’s the most beautiful memory you carry from this experience, and is there a song you’d use to describe your journey as Max so far?

I listen to a lot of music and use it to prepare for characters. A song that comes to mind, in response to your question, is Max Pezzali’s “Nessun rimpianto”. This song helped me a lot—I really like its message, which I share—and it also gave me great insight into who Max is.

His songs were my main source for understanding him.

“Max, but how do I dance to this one?” is the last question Mauro asks at the end of the series when Max plays “Come mai”. What do you expect to emerge from the recently announced “Nord, Sud, Ovest, Est”? It’s said to cover their greatest successes as well as the crisis between Max and Mauro to give a fitting “ending” to their story.

I haven’t read anything yet, so I’m also speculating. Personally, I’d love a happy ending. I hope they manage to conclude the story well, even though it’s challenging because we don’t know exactly how things turned out in reality. I’m very curious, and I hope they’ll end on a positive note, especially considering that the first season ended quite negatively.

What was it like discovering Mike Bongiorno? What aspect of Mike surprised you the most while portraying him, considering the series delves into the difficulties he faced both before and after fame?

I knew very little about Mike, and learning about his story was eye-opening for me. One thing that stayed with me and taught me something was his determination in the truest sense of the word—the drive to go after what you want. Alongside that was his ability to say no and make his voice heard. After shooting the series, I reflected on this a lot because it’s an area I need to work on, and Mike gave me plenty of food for thought.

“…the drive to go after what you want”

I imagine being an actor involves a constant search for balance—between who you are as a person and the character you’re playing, and between the solitude of facing this job and the collectivity it brings. How do you personally build and live this balance?

What I try to do—and what I’ve been taught—is to find a middle ground between myself and the character I’m playing. Usually, you aim to move towards the character rather than bringing the character closer to you. This means not imposing the character on yourself but rather taking something of yourself and aligning it with them. It’s a process of gradually recognizing the peculiarities or traits of the character—their way of reacting to something, for example—and comparing it with your own.

It’s a detailed process aimed at aligning two personalities as much as possible.

What’s the last thing you discovered about yourself through your work?

When I started working, my idea was, “I act; the rest is someone else’s job.” But over time, I realized that you also need to make your voice heard and assert your will. I tend to be passive in this—I try to adapt—which, to some extent, is fair and appreciated. But I’ve learned that if this becomes extreme, it affects me professionally.

That’s why I’m working on finding a balance and making my voice heard where it counts.

What’s your biggest act of rebellion so far?

My biggest act of rebellion is not letting myself be overwhelmed by social media, instead seeking the right balance between private and public life.

In other online interviews, I’ve seen you mention several books beyond Max Pezzali’s. What are you reading now?

I’m currently reading “The Notebook Trilogy” by Ágota Kristóf—a very beautiful novel. Before that, I read Al Pacino’s biography, which just came out. I really enjoy getting a glimpse into the worldview of icons I admire and drawing inspiration from their lives.

What does it mean to you to feel comfortable in your own skin?

It means knowing you’re telling the truth—not speaking from hearsay but saying your truth, which I’ve learned isn’t so obvious. I feel comfortable in my own skin when I’m true to myself.

What scares you the most?

Regret. That’s what scares me the most.

And what’s your happy place?

My happy place is the cinema—a good film.

What’s the last movie that made you feel “on a happy island”?

“Capote” with Philip Seymour Hoffman. That type of movie makes me feel truly at peace.

Photos by Johnny Carrano. 

Grooming by Sofia Caspani. 

Thanks to Giuseppe Corallo. 

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