For some, cinema is “just” entertainment. For others, it is a refuge, a safe place where emotions are amplified, and the boundaries of reality dissolve. For Federico Majorana, cinema is even more than that: a discovery, a rebellion, a language capable of making sense of life’s complexity, and, above all, the desire to take part in what it represents.
In “M. Son of the Century”, directed by Joe Wright, he plays Amerigo Dumini, one of the darkest figures in Italian history. Preparing for this role meant diving into historical documents, studying the psychology of a violent man, but also searching for his hidden humanity. His meticulous approach to the character turned him into a metaphor – a disturbing yet necessary symbol to narrate the rise of fascism. However, the darkness of the role did not (fortunately) overshadow the experience on set or the sense of brotherhood that developed with the cast.
The duality between fully immersing himself in characters and the need to detach from them follows Federico even beyond the set: whether on stage or behind a camera, every form of art becomes a way for him to explore himself and the world.
With an open outlook on the future, the desire to tell his own stories, and the awareness that cinema will always remain his “happy place” this interview paints an honest portrait of an artist who lives his craft as an act of rebellion against reality – an attempt to understand it and, perhaps, change it.
What is your first cinema memory?
I have two particularly vivid ones. The first goes back to when I went to the cinema to see “Tarzan” with my grandmother. I remember very well the post-screening moment when I was so fascinated by what I had seen that I started jumping on the cinema seats. That cinema, by the way, no longer exists; it was located right in front of my parents’ house.
Another memory is the first time I watched “Blow-Up” with a friend of my parents. I remember that we were ordering Indian food at the same time. That was one of the films that truly made me fall in love with cinema.
Was there something that made you want to be part of this world?
By watching more and more films, I started to realize that I wanted to be actively involved in cinema, but at first, I didn’t really know in what way… Certainly not as an actor – I was more interested in being behind the camera. However, there wasn’t a particular event that made me choose this as a career. Maybe it was simply watching films: I fell in love with that type of language, the emotions that films conveyed to me, what they taught me, allowing me to see things that, in real life, you can’t see so closely or with such clarity.
In a way, films have helped me understand life.
Your words really capture what is, in a way, the power of cinema—the idea that films help you understand life, offering a new perspective. Let’s talk about your work in front of the camera in “M – Son of the Century” and your character, Amerigo Dumini. What was the preparation process for this role? How much did Antonio Scurati’s book and actual history influence your interpretation?
I started from a historical foundation – Scurati’s novel and Dumini’s autobiography, and I watched documentaries about that historical period, which helped deepen my understanding. That was the starting point.
Obviously, from the audition stage, Joe Wright and I aimed for a more personal approach, turning the character into a “metaphor,” a representation of what many people were like during that time, while also trying to modernize him. Initially, my audition performance had a rather “antique” interpretation of a fascist from that era, based on our historical perception of fascism. But with Joe, we worked to bring the character into the present. Gradually, I shifted my focus from the historical aspect to shaping what Dumini could represent for me.
I looked for references in other films – “A Clockwork Orange”, for example, was a visual reference for Joe. Finding the right music also helped me, as did working on physicality in violent scenes. I also tried to find human aspects in Dumini, such as his feeling of exclusion or his desire to be something he wasn’t. I always thought of Dumini as somewhat of Mussolini’s shadow – like all the other characters who, in some way, perhaps wanted to be him. There are small hints of this in the series; for example, in one scene, Dumini wears the same hat as Mussolini, with shoes very similar to his, including spats. Searching for the humanity in the character helped me make him my own – not just a purely historical interpretation, but more of a metaphor for something, as I said.
“Joe Wright and I aimed for a more personal approach, turning the character into a ‘metaphor’, a representation of what many people were like during that time”
So, you wanted to make him more human, to truly own the role, but also to discover him from other perspectives beyond the well-known dark aspects of Italian history. Was there an aspect of Dumini that surprised you? Or something unexpected that you learned about that historical period?
From a historical perspective, this series was definitely an experience that helped me deepen my knowledge in many ways. What I lacked were the details – the specifics of certain characters, even Dumini himself, whom I didn’t know about before working on this series.
There are some curious anecdotes, such as the fact that Dumini was born during a tornado in America or that after his trial for Matteotti’s murder, he was captured multiple times – once by the British, who attempted to execute him. Apparently, they shot him 17 times, and he still managed to escape.
Which is also the title of his autobiography, right?
Exactly, “17 Shots”. These characters certainly had eventful lives, which is strange because they almost always failed in their actions, Dumini included. I tried not to be afraid of portraying his “stupidity,” so to speak, because at times, these people were truly ridiculous. Even the Matteotti operation, for example, was completely botched from start to finish… In some ways, they were just inept.
That’s true – I was just thinking that the whole Matteotti murder sequence almost feels “satirical”, like a dark comedy sketch. The series as a whole seems to aim at making a difficult historical period feel real while avoiding ridicule. Given that this was a group production, there is a strong sense of unity, even when depicting the more disturbing and horrifying aspects of when ideals and a sense of community turn into cruelty and dictatorship. How was it to work together on set, building this sense of brotherhood with each other and with director Joe Wright?
That sense of brotherhood sometimes went beyond work – we were all very close, both the cast and the crew, so working together was easy and enjoyable. The atmosphere on set was wonderful.
The first audition was actually just a conversation with Joe, which I think also served as a kind of “screening” of personalities, which is why there was such great harmony on set. When you work with a director or co-star who has a lot of experience, at first, you feel small. But with Joe, none of us ever felt that way – not even with Luca [Marinelli]. Working with them was very pleasant, despite the delicate subject matter of the series. The set was relaxed, and we all had fun.
While watching the series, we felt almost transported into another reality – thanks to the immersive music, the direct-to-camera addresses, and the fast-paced action. Each episode leaves you shaken. Did you experience that same sense of “disorientation” on set?
Yes, definitely, though in a controlled way, to avoid getting too carried away. But that atmosphere was present, making it easy to step into Dumini’s shoes. The set design and the large number of extras helped – it was easy to immerse myself. At the same time, we kept a relaxed atmosphere to avoid too much tension. The story was already dark enough, so we made sure to create moments of relaxation – for example, there was always some background music between scene changes.
Joe is a great listener; he loves working with actors. I always felt heard. He would always let us try a scene our way first, without direction, just watching us – almost like a child playing.
It was an honor; I didn’t expect so much attention, but there was plenty, down to every little detail.
“The story was already dark enough, so we made sure to create moments of relaxation”
We interviewed Benedetta Cimatti, and she told us something similar.
Yes, you could feel the joy of making cinema on set. I don’t think it’s a coincidence that the series turned out so well in the end.
At first, I was a bit afraid of how the public would react – I was worried that I might be liked, but in a negative way, for example. Instead, in the end, the series received a very positive response, and I’m proud to be part of it.
In fact, the series has had, and is still having, a well-deserved impact and resonance with both critics and the audience. Has there been a reaction or opinion that particularly struck you?
For example, my father liked the series, and that made me proud. I’ve read a lot of reviews and critiques, but one in particular stood out – a girl talked to me about Dumini and her perception of the character in exactly the way I had intended to portray him. It made me happy that even people who aren’t in the industry could understand the work that went into it.
Speaking of theater, you just finished a stage production. Is playing a character on screen different for you compared to performing on stage?
Specifically, this last production I worked on leaned towards a cinematic style of acting – we had microphones and aimed for a more modern, more “English” type of theater.
As for how I approach a role in general, honestly, there’s no difference between film and theater. Of course, the relationship with the audience changes – on stage, the spectators see the full performance, whereas in cinema, the work is more focused on details, on facial expressions, and is done in fragments. In this last play, for example, I was on stage for an entire hour without ever stepping off. I see theater as more of a challenge, almost like a combat sport.
Other than that, I approach the character in the same exact way – I try to bring them into my subconscious so that they take control of me, even in small ways. Sometimes, I even carry them with me into my everyday life. I did that with Dumini – taking on his little “non-dangerous” details, like his habit of licking his lips. In short, bringing the character into my subconscious is my way of making him mine, of embodying my own idea of him, of making him live within me.
“Bringing the character into my subconscious is my way of making him mine”
Do you have any upcoming acting projects you can talk about?
A film by Eleonora Danco will be coming out – she’s the playwright I worked with on the stage production. The film is called “Nego”. Then, there’s another project, but I can’t say anything about it yet…
Speaking of a different type of art, you’re also a photographer. How do you approach finding a subject or creating a photography project? Is it more instinctive or emotional for you?
When it comes to photography, my approach is more instinctive. Over time, I’ve realized that my photos all have certain common elements – there’s always some kind of research, a particular aesthetic, something I look for, but it all comes from the gut.
I really follow my instincts. The times I’ve tried to do more structured shoots – planning details like the location, for example – it didn’t go well. I started out just taking pictures of my friends and the situations I lived in, simply to remember the details. Eventually, I realized there was a common thread in all my shots, as I mentioned.
Would you ever consider pursuing a path as a cinematographer or a similar role?
I had never thought about becoming a cinematographer, actually. But I’d definitely love to write, or even direct. However, I don’t want to rush myself in this regard, because right now, I don’t feel ready – I wouldn’t even know what to tell. But it’s something inside me, and I know that sooner or later, it will surface, or at least try to.
I often think about stories to write, and I do write – before, more than now. Writing is a language that fascinates me and has helped me understand a lot. I’d love to express myself through cinema, which, in my opinion, is more effective than words. I hope I can give back what cinema has given me, because I truly believe it’s the best language there is.
“I’d love to express myself through cinema, which, in my opinion, is more effective than words”
What’s the last thing you’ve discovered about yourself, thanks to your work?
I’ve discovered that I’m more optimistic than I thought, that I have more positive energy than I usually notice. Or rather, other people notice it – I tend not to. I see myself as darker than how I actually come across. I’ve learned to recognize this side of myself, and I hope I’ve learned to nurture it and to acknowledge it when it’s there.
What has been your biggest act of rebellion so far?
I think choosing to be an actor is an act of rebellion against truth itself – the attempt to grasp it and reproduce it. In a way, choosing this profession was, first and foremost, an act of rebellion against myself, because it’s a path that constantly pushes me to put myself on the line and question everything.
What does it mean to you to feel comfortable in your own skin?
It means remembering that the perception I have of myself is just one of the many perspectives that make up who I am. That realization helps me feel better and more at ease in my own skin.
What is your happy place?
My happy place is the movie theater. It’s a place that makes me feel safe, and when I leave, I feel better.
And I’d also add a real place, an island – Sicily. My family is originally from Catania, and I’ve been going there since I was a child. Every time I visit, it’s like rediscovering a piece of my childhood self.
Photos & Video by Johnny Carrano.
Grooming by Sofia Caspani.
Thanks to Otto Talent Agency.
LOOK 1
Kimono: Tiziano Guardini
Bag: Benedetta Bruzziches
Shorts: San Andres Milano
LOOK 2
Suit: San Andres Milano
T-Shirt: Alchetipo
LOOK 3
Vest: Simon Cracker
Gloves: Alchetipo
Trousers: Uniqlo
What do you think?