Life For Art - An Intimate Chat With The Italian Actress Carolina Sala Vanity Teen 虚荣青年 Lifestyle & New Faces Magazine

By Mira Postolache

Life for Art - An intimate chat with the italian actress Carolina Sala Life for Art - An intimate chat with the italian actress Carolina Sala Vanity Teen 虚荣青年 Lifestyle & new faces magazine

Carolina Sala, a talented Italian actress, made her debut in the world of theater at a young age. Born in Conegliano Veneto, she grew up performing at the Accademia Da Ponte. At 18, she was discovered and embarked on a series of significant projects. Alongside her acting career, Carolina is also pursuing a degree in History of Art at Ca’ Foscari University in Venice.

Carolina’s rise to prominence began with her debut in the series Unique pieces, which led to her initial burst of popularity. From there, she embarked on a path that seemed unstoppable. She worked with renowned director Michele Soavi in The War is Over, portrayed Rita Levi Montalcini in a TV film, and starred in the Netflix series adaptation of Fedeltà by Missiroli, directed by Molaioli and Cipani. Her career took her from the province to working alongside esteemed actors such as Sergio Castellitto, Tommaso Ragno, Michele Riondino, and Isabella Ragonese.

In Pappi Corsicato’s film Perfect illusion, Carolina finds herself in a captivating triangle alongside Giuseppe Maggio and Margherita Vicar. The film, which premiered at the Torino Film Festival, explores a twisted game between unscrupulous individuals. Carolina’s character, paying homage to Jean Seberg in Godard’s Breathless, portrays a girl from a wealthy family who establishes herself as an art curator.

Last July was released the film Noi anni luce, directed by Tiziano Russo, and Carolina takes on the role of Elsa, a seventeen-year-old girl who discovers she may not live to adulthood due to a leukemia diagnosis. To save her life, she embarks on a search for her unknown father, the only compatible bone marrow donor. Accompanied by Edo, a boy she met in the hospital, Elsa navigates their shared disease and the unknown. With a passion for ancient, medieval, and Byzantine art, Carolina’s character studies art history and conservation of cultural heritage. If her acting career wasn’t flourishing, she would consider a path as an art critic or researcher.

Carolina Sala’s intriguing journey has caught our attention and we reached her out for an exclusive interview for Vanity Teen. This interview promises to provide further insight into Carolina’s experiences and her remarkable ascent in the industry.

What was it like to start your career at such a young age and how did your childhood background have an impact on your career as an actress?

I started working in cinema while I was still finishing high school, this at least at the beginning made me feel very distant from my peers, although I don’t really regret my choices, it was something I wanted so much that I could overcome any problem.

I think my background has helped me above all to keep my feet on the ground, to live this profession with serenity (as much as possible) despite the pressure and anxiety that inevitably comes in the moments of pause between one set and another.

Is there anything you wish you could tell your younger self? What did you learn early on that still serves you today?

I think that the greatest lesson that you must learn to deal with in this profession right from the start is that you cannot please everyone and not take a bad audition with a personal criticism. The only person who needs to like you is you and if you can improve something at work, put all your energy into being the best possible version of yourself.

We think you were the best actress ever for the role of ‘’Rita Levi Montalcini’. Did that make you nervous? How did you prepare for this role?

It was actually a rather fun role, I played Rita Levi Montalcini in a period of her life of which there is essentially no visual evidence. If we think about it we all have her much older in mind, so her work has been highly imaginative for the most part, clearly based on historical facts and the stories of her relatives.

What are the interpersonal dynamics on a film set like? How do you build trust and creative chemistry with cast and crew members whom you haven’t necessarily worked with before?

The set is like a world apart, entering it for the first time can be alienating, a great confusion of very busy people all with a specific task. It can be difficult to fit in at first. Experience does a lot, but I think chemistry is something that comes from the true magic of the set, its ability to create worlds from something so apparently chaotic.

After big hits like ‘Noi anni luce’ , ‘Vetro’ and ‘Fedeltà’, what did you think about the next steps? Is there any favorite role would you like to play?

I don’t have any roles that I would like to play specifically. I hope to encounter good stories and good scripts to immerse myself in and bring to life.

How do you challenge yourself sometimes? Did you ever say “I’m not ready, but I’ll try anyway”?

Usually I never feel ready and when the time comes to dare I usually catch myself off guard and throw myself. To explain myself better: when I have to throw myself into the cold water at the sea I tell myself to count to 3 but in the end I throw myself at 2… I catch myself off guard!

What was the most challenging movie and what kind of pressure did you feel personally?

Vetro was certainly my most challenging film, being set entirely in a room with essentially only me inside I felt a lot of pressure on whether the project would succeed or not, every nuance had to be perfect!

You recently acted in a feature film, ‘Noi anni luce’. How was working with Fabio Troiano and Rocco Fasano? How does this movie change your vision or life perspectives?

It was a privilege to work with both of them. Sensitive and attentive, we always managed to take the time to rehearse and refine the scenes. I think this film taught me that lightness and a little recklessness are not superficial things and sometimes just the keys to really changing your life.

Is there a big push for more diversity in the cinema industry—not just in casting but also in assembling crews? As a female actress, do you feel like the power dynamics are changing?

While we’re talking about this, I think it’s a big change. I think that my generation is hungry for new stories but above all stories told from different points of view that tell the story of humanity, giving a voice to those who too often have not had one.

How do you measure success?

Valuing how satisfied I am with my work.

A letter to your future self. What would you write?

That I hope to be happy whatever my choices.