(Adnkronos) - "Ho vissuto una vita da miliardario senza una lira". Così esordisce Rino Barillari, il leggendario fotografo che ha immortalato la Dolce Vita romana e continua, oggi che compie 80 anni, a inseguire la notizia con la stessa passione di sempre, durante un video podcast negli studi Adnkronos con Davide Desario, direttore, e Giorgio Rutelli, vicedirettore. Alle spalle dei tre, come potete vedere nel video qui sotto, scorrono le immagini imperdibili del “king”: Sordi e Marini alla Fontana di Trevi, George Clooney che lo strozza (per scherzo), il giovane Paul Getty prima del rapimento, un’attrice americana che gli spiaccica un gelato sulla fronte perché dopo il matrimonio con un signore ricco e anziano, la sera andava in giro con un tipo decisamente più giovane. Nato a Limbadi, in Calabria, Barillari arriva a Roma nel 1959 con pochi soldi in tasca e un grande sogno. "Non parlavo italiano, solo calabrese. Dormivo a Villa Borghese e raccoglievo le monete lanciate dai turisti a Fontana di Trevi per comprarmi da mangiare" racconta. L'occasione arriva per caso: inizia ad aiutare gli "scattini", fotografi che immortalano i turisti per poi vendere loro le stampe. Da lì il passo è breve: scopre il fascino del mondo delle celebrità e decide che quella sarà la sua vita. "All'epoca Roma era piena di personaggi. Oggi non è più così", dice con un velo di nostalgia. "Si piange a pensare ai tempi in cui in Via Veneto trovavi Virna Lisi, Claudia Cardinale, Sophia Loren". Barillari diventa una presenza fissa nei luoghi più iconici della città: Piazza di Spagna, Campo de' Fiori, Piazza Navona. "Oggi chi non vuole essere fotografato va al Trullo o sulla Tiburtina. Ma la mia caccia era nelle strade del centro, dove il glamour era di casa". La sua Rolleiflex diventa un'arma: "Camminavo con la macchina fotografica nascosta sotto la giacca, pronto a scattare il momento perfetto". "Non tutti erano contenti di farsi fotografare", sorride amaro. "Sono finito in ospedale 164 volte, tra manganellate della polizia, pugni delle celebrità e risse per strada". Tra i tanti episodi, racconta lo scontro con Gerard Depardieu dell’anno scorso: "Gli avevo scattato delle belle foto a via Veneto, lui sembrava tranquillo. Poi, di colpo, mi ha dato tre cazzotti da paura. Secondo me lo ha fatto apposta per finire sui giornali". Barillari ha visto di tutto: dalle rapine ai suicidi, dai momenti di cronaca nera ai grandi eventi di spettacolo. "Quando arrivi su una scena del crimine, i parenti non ti dicono 'Benvenuto', anzi. Ma la foto resta, e la storia va raccontata. In quei casi, il bravo fotografo trova la scorciatoia per arrivare prima sulla notizia e magari anche rallentare gli altri…". "Chi si comportava meglio con me? I veri grandi, quelli che capivano il valore della fotografia", dice senza esitazione. "Sordi, Mastroianni, Amedeo Nazzari, erano signori. Rossano Brazzi mi invitò a cena, ma io ero agli inizi e non mangiavo per paura di fare brutta figura". E tra le donne più affascinanti? "Sofia Loren. Il suo nome è un passaporto internazionale. Grazie a lei ho aperto porte che sembravano impossibili". Anche la politica è passata davanti al suo obiettivo. "Cossiga è stato sempre un signore, ho passato giorni sotto casa sua per una foto della moglie. Alla fine ne ho scattata una, ma ancora oggi non so se era davvero lei. Poi quando finii in ospedale per qualche aggressione mi venne anche a trovare”. Tra i presidenti del Consiglio degli ultimi anni, Conte è stato tra i più gentili, Monti distante, con Renzi scherza tutte le volte che lo incontra per strada. E Meloni? “Lo scoop sarebbe la foto del suo ricongiungimento con Giambruno. Ci farei tre copertine. Con il bacio cinque”. Barillari guarda con sospetto i tempi moderni. "Oggi tutti si credono fotografi con il cellulare, ma manca l'anima. Una foto non è solo tecnica, è istinto, è storia". Eppure, anche lui non disdegna il telefonino: "L'altra sera ho fatto uno scatto con il cellulare a una cantante in un ristorante. Certo, non è come una Rolleiflex, ma serve". E qual è lo scoop che ancora sogna? "Il Papa che di notte porta una coperta a un senzatetto, vestito normale, senza abiti sacri. Sarebbe una foto eterna". A 80 anni, il Re dei Paparazzi non ha intenzione di fermarsi. "Se mi chiamano, io vado. La storia non aspetta. Spero di farlo ancora per almeno dieci anni". E per il suo compleanno? "Tranquillo con mia moglie. Le chiederò scusa per il tempo che non le ho dedicato. Ma se arriva la chiamata giusta, prendo la macchina e scatto. Perché la fotografia è vita".
Category
🗞
NewsTranscript
00:00Welcome to DNA Kronos, I am Davide Desario, I am the director and I tell you a date, February 8, 2025.
00:09What's going on? Rino Barillari turns 80, the king of paparazzi, the one who photographed anyone,
00:17there are even those who say that God forgives and Barillari does not.
00:21Now we will listen to him, we have him here as a guest and we will try to get him out,
00:25together with the deputy director Giorgio Rutelli, some anecdotes that he has never told.
00:31So Giorgio, we are here, not alone, because we have none other than Rino Barillari.
00:40Welcome King.
00:43So, 80 years.
00:46Made wonderfully well, I made my life as a billionaire without a pound,
00:54grown up in hunger, crying, desperate, to get off the moon.
01:02So let's go in order, you were born in Calabria, long live Valencia.
01:08No, Limbade, which is the most beautiful place I can remember right now, where I was born,
01:15where there were many friends of mine, school, hunger, games, cinema,
01:22but the most particular one is the cinema of a relative of mine,
01:27where I used to go to steal pieces of film to play, because that was the only game.
01:36And when did you arrive in the capital?
01:38I arrived in 1959 with two other friends of mine, one had to go to Milan,
01:47another had to go to Germany or to Turin.
01:51And what was your job?
01:53I chose Rome because the money was not enough for me, at 14 years old,
01:59my poor mother made sacrifices to give me that money, it was not easy to have the money.
02:04So you arrive in Rome and what do you do?
02:06It's enough for me to tell you that, it's not a legend, it's the truth,
02:11people used to say, what did you have for dinner yesterday?
02:14I ate pasta and meat.
02:16But really, guys, after the war, hunger…
02:22Not like today.
02:23No, no, today it's a failure, let's face it.
02:26Today everyone says sweet life, but this is sweet life.
02:30So tell me, what is the first job you do?
02:33No, it's not the first job, I arrive in Rome, I live in Villa Borghese,
02:38and luckily I found myself, if I'm not mistaken, in Fontana di Trevi.
02:44And in Fontana di Trevi it seemed like a party to me,
02:48it was a party like the one I saw in the newspapers,
02:51the week before a movie,
02:54and so I was there watching,
02:56and the more I managed, the more money the tourists threw
03:01with the car that passed by, on the ground,
03:03and with that I bought myself a sandwich,
03:05actually a cereal that cost less,
03:08because it cost less,
03:10and I landed in Lunario, slowly.
03:13I spoke non-Italian, Calabrian, so no one understood me.
03:18Were you a foreigner too?
03:20Worse, worse, worse.
03:23With the risk that if the police stopped me,
03:27they would take me away like the community police in Calabria.
03:32And so I found myself in Fontana di Trevi
03:35helping the photographers called Scattini.
03:39They were the ones who took pictures of the tourists,
03:42on their way to Rome,
03:44throwing coins, three coins in the fountain,
03:47they took a picture, then they sent it to you,
03:50or in the hotel, and so on.
03:53So you were the little boy,
03:55and you took the pictures to the hotel, to the tourists.
03:58With the bags closed, already paid, and so on.
04:01And so I was looking at these photographers.
04:04I was a bit of a fake idiot,
04:07so everyone helped you,
04:09because if by chance you took a chance,
04:11you said, ah, this has to be done like this,
04:13finish, do it,
04:15instead no, always stupid, stupid.
04:17We are seeing a photograph, for example,
04:20of Fontana di Trevi,
04:22tell us about it.
04:24This is Alberto Sordi,
04:26with Marina, Addio alla Lira.
04:28Ah, Addio alla Lira,
04:30so he throws in Fontana di Trevi
04:32the last wish with the lira.
04:34This was in 2001, when he had just turned 80,
04:37and so he was celebrated for his 80 years,
04:40and at the time he also made the film with Valeria Marini,
04:43and so on.
04:45What was the name of the film?
04:47I don't remember.
04:49Nestore, was his name.
04:52It was dedicated to one of the last
04:56who brought the bottles to Rome.
04:59And so this is Addio alla Lira.
05:03What happened after that, Rino?
05:05You started taking photographs.
05:07So, I saw that it was easy to take photos,
05:10with the Rolleiflex.
05:12Like this one?
05:14No, no, this one was used under the jacket
05:17that you walked on the streets,
05:19Piazza di Spagna, Via Condotti,
05:22Via Belziana, Via Frattino,
05:24Piazza del Popolo, Via del Babuino,
05:26looking for characters.
05:28Before, there were characters.
05:30Today, there are no more characters.
05:32I sometimes cry, but...
05:35But today, in Rome, there are places
05:37where you go and you still find characters.
05:40In strange places,
05:42in places where,
05:44if you don't want to be photographed,
05:46you go to Trullo,
05:48or to Celio,
05:50or to Tiburtino, to Vittoranto.
05:53But tell us, what is your Bermuda Triangle?
05:56The three places where you go
05:58to hunt.
06:00Piazza Farnese,
06:02Campo dei Fiori,
06:04Piazza Navona,
06:06Piazza del Popolo,
06:08Piazza di Spagna,
06:10at the end, Via Veneto,
06:12because the people,
06:14after you go to the theater,
06:16where do you go?
06:18You go to Via Veneto to listen to some music,
06:20but not a boy.
06:22The boy is in the square,
06:24with a glass in his hand,
06:26like the old people,
06:28quiet, when the car passes,
06:30they go up and down that street.
06:32That's their fun.
06:34And instead, the characters?
06:36I go to restaurants,
06:38Piazza dei Ricci,
06:40I also meet international politicians.
06:42At Piazza dei Ricci
06:44there was someone called Tiola Menare,
06:46he saved your wife.
06:48The English patient, yes, he saved my wife.
06:50He saw my wife
06:52on the phone.
06:54Maybe not everyone knows.
06:56The English patient was Ralph Fiennes.
06:58But come on, what he just did with Clave,
07:00because he shot with Clave,
07:02maybe in Rome.
07:04Marino Barillari,
07:06assault photographer,
07:08begins to photograph all the characters
07:10that go on.
07:12All those that happened to me,
07:14even those I didn't know.
07:16In the city of Eterna.
07:18But not everyone was happy.
07:20So you, among the many records,
07:22you didn't do only 80 years,
07:24but in these 80 years,
07:26how many times did they threaten you?
07:28164 times.
07:30164 times you ended up in the hospital.
07:32The first aid, it's clear.
07:34Between the police and the policemen.
07:36Those who contested.
07:40Made of black chrome.
07:42Suicides.
07:44You go on the spot,
07:46the mother crying in front of her son,
07:48the relatives,
07:50you arrive with a holographic camera
07:52and they tell you,
07:54it's clear that it was Clave.
07:56But the photo was important.
07:58Between robberies, black chrome.
08:00These are the beatings you took.
08:02How many cameras were destroyed?
08:0478 cameras destroyed.
08:06164 in the hospital.
08:08A stabbing.
08:10A stabbing where?
08:12At the stadium.
08:14What game was it?
08:16Roma-Lazio.
08:18At the derby?
08:20At the derby, yes.
08:22No, no.
08:24They want to play,
08:26but you don't play to hurt people.
08:28The game is nice,
08:30but having fun,
08:32the city is holy,
08:34you have to respect the others.
08:36The last time you risked,
08:38or rather, you woke up,
08:40as they say in Rome,
08:42was in Via Veneto with Depardieu.
08:44I don't know it yet,
08:46because he's a great, beautiful person.
08:48I photographed him
08:50with Isabella Rossellini,
08:52I photographed him with Benigni,
08:54shopping in Rome.
08:56I went to Via Veneto,
08:58I took a picture,
09:00after I finished,
09:02beautiful pictures,
09:04he said no,
09:06his weekly picture,
09:08you attack me,
09:10he comes and hits me.
09:12Crazy.
09:14He was a bit agitated.
09:16He was agitated,
09:18but in my opinion,
09:20he did it on purpose
09:22to end the day.
09:24I don't know
09:26the importance of it.
09:28Does he do these things
09:30or does he need publicity?
09:32I don't know.
09:34He's a fan of Menta,
09:36you have to respect him.
09:38If he asked me,
09:40not small, not poor,
09:42I had already done it before.
09:44Those who have history,
09:46those who really made cinema,
09:48those that everyone today
09:50tries to imitate.
09:52Look at Marcello Mastroianni,
09:54look at Amedeo Nazzari,
09:56look at the most beautiful,
09:58Rossano Brazzi,
10:00you're crazy.
10:02I even invited you to dinner.
10:04They understood the value of the picture
10:06you took of him.
10:08When Rossano Brazzi invites you to dinner,
10:10I say I'm not hungry,
10:12because I was afraid to make a bad impression,
10:14I didn't know how to take
10:16the knife,
10:18the bread, the wine,
10:20and I didn't eat,
10:22I was not hungry to die,
10:24so as not to make a bad impression.
10:26Tell me something,
10:28the woman you photographed
10:30most fascinating of all?
10:32In my opinion, it remains
10:34Sofia Loren,
10:36because she is an international passport.
10:38You go to any part of the world,
10:40Loren,
10:42even Gina Lobrigida,
10:44Virna Lisi,
10:46but Loren with more particularity.
10:48And I sometimes,
10:50thanks to her,
10:52showing the photo with her,
10:54I did some really important things
10:56of my work.
10:58When you travel around the world,
11:00you say, I'm a friend of Loren.
11:02Everyone goes crazy,
11:04so it means there is credibility.
11:08It's not my fault.
11:10No, no, no, for God's sake.
11:12But consider that Loren,
11:14if it happened to me that I was out of a place,
11:16he would send me
11:18a glass of champagne.
11:20That's a character, sorry.
11:22Tell me about the politics.
11:24Among the presidents of the Republic,
11:26you have seen a lot.
11:28Unfortunately, yes.
11:30But in my opinion, it was
11:32Cossiga,
11:34because Cossiga,
11:36I spent more than a week
11:38under his house,
11:40photographing his wife,
11:42which was impossible to do.
11:44Honestly,
11:46I took a picture,
11:48but you don't know if it's her or not.
11:50You take a picture,
11:52you'll see later.
11:54And he still loves you.
11:56I had to go to the hospital
11:58when he nominated me.
12:00To imagine,
12:02it means that I'm not a tempter.
12:04I'm someone who does the job seriously.
12:06If I don't do things,
12:08there's no story.
12:10That image doesn't stay.
12:12Here we are,
12:14in the 60s,
12:16a picture of Giacomo Alexis.
12:18She got married in the morning,
12:20she's an actress,
12:22with an old man,
12:24to take the Italian citizenship.
12:26And at night she was shopping
12:28with another man.
12:30She threw the ice cream in my face.
12:32That picture...
12:34This is really sweet life.
12:36Tell me another thing.
12:38At a certain point,
12:40you were using cell phones.
12:42In my opinion,
12:44cell phones are not...
12:46The other night,
12:48I took pictures with my phone
12:50of a singer who was in a restaurant.
12:52It means that the phone can work,
12:54but it's not that
12:56it's your head
12:58that does the job,
13:00the cover picture.
13:02So, all the experts,
13:04take pictures,
13:06honestly, they don't have a heart,
13:08but a picture like this,
13:10as long as it's all clear, beautiful.
13:12And if you, an old woman,
13:14take a picture with your phone,
13:16you say, oh my God, how beautiful I am.
13:18I'm in my 40s.
13:20But take a serious picture,
13:22pretend, come on.
13:24What would you recommend to a boy
13:26who wants to be a photographer
13:28and wants to follow, or at least
13:30tell the world of today
13:32with a phone, a camera,
13:34a video camera, what would you tell him?
13:36Well, first, don't get married.
13:38You must always be free.
13:40Why free? If you are free,
13:42they call you, but if you are busy,
13:44change your job, get married.
13:46You must accompany your wife and mother.
13:48You must accompany your wife to a friend's hospital.
13:50You must accompany...
13:52You can have a family life and be a father.
13:54Change your job.
13:56When you are free...
13:58But you got married.
14:00What do you mean? My wife does what I say.
14:02I am democratic, I respect the family.
14:04Two, that's enough.
14:06And one recently.
14:08One recently.
14:10Can I say it?
14:12That I did a lot of things?
14:14You ruined me.
14:16That news, don't tell us that you got married.
14:18Because all my friends
14:20warned me about the news.
14:22Between the police stations,
14:24hospitals,
14:26emergency services,
14:28everywhere.
14:30Like the sailors, there is one in every port.
14:32What can you do?
14:34Otherwise, who informs you?
14:36There are no judges anymore.
14:38But I didn't resist.
14:40And you killed me.
14:42I cried in English.
14:44What do you mean in English?
14:46I don't know how to shed tears, but I cried.
14:48Because I heard about this.
14:50And I shot the news
14:52at the time
14:54on the newspaper where I worked.
14:56And so now
14:58you were no longer a sailor.
15:00But instead
15:02how many children do you have?
15:04Two. Roberto and Alessia.
15:06And you took their first picture?
15:08Of course, when they were born.
15:10I have everything.
15:12It's normal.
15:14And now,
15:16tell me another thing.
15:18All these rules,
15:20this politically correct,
15:22the privacy.
15:24Well, enough to say that privacy
15:26in Calabrian means providence.
15:28First take, then we'll see.
15:30They don't want that picture
15:32that has privacy, but in 20 years
15:34that picture is worth more than
15:36they think.
15:38Because the story,
15:40if you stop the story,
15:42it's a failure of all.
15:44There is article 21 of the Constitution,
15:46freedom of speech.
15:48So if you take me away from doing things,
15:50you mean that there is something wrong.
15:52You risk it, and of course you wake up.
15:54But your biggest scoop,
15:56also with which you gained the most,
15:58what was it?
16:00Honestly, I still have to do it,
16:02because it's still spinning,
16:04and I hope to do it.
16:06And my only dream,
16:08it's a dream,
16:10the Pope, one night,
16:12who brings
16:14a blanket
16:16to a poor man on the street,
16:18but not dressed as Pope.
16:20Normal, like with the jacket,
16:22with the stick even better,
16:24so that it doesn't break,
16:26because you have to do it at the hospital.
16:28Like the story, there was the story of Assumma
16:30who told in the documentary
16:32of Dago
16:34that the Pope
16:36went out in the evening,
16:38he went to the Piazza Navona,
16:40but no one ever managed to photograph him.
16:42Yes, it happened to me,
16:44but I didn't believe it,
16:46you know, without warning.
16:48It was the lowest,
16:50holy shit,
16:52so it's a scoop
16:54that stayed in the barrel?
16:56I don't know, unfortunately,
16:58but that night
17:02the frequency didn't work well,
17:04you know, the frequency of a photographer
17:06you have to understand
17:08before the fact happens,
17:10if it happens later,
17:12the photo is no longer worth it.
17:14Well, Rino, you and I have gone around together
17:16many times for chronicles,
17:18but tell me one thing,
17:20when was the real time
17:22when you were afraid?
17:24Well, a lot of times,
17:26but you know,
17:28it's thousands of seconds,
17:30when you hear a gunshot
17:32and you don't know
17:34where it comes from,
17:36and there you say,
17:38oh my God!
17:40Well, I calculated Piazza Navona,
17:42I also found myself
17:44near Piazza del Popolo
17:46with Piernoli,
17:50who shot us,
17:52guys, it's risky,
17:54it's a matter of luck.
17:56Here is the photo of Elias Ca,
17:58what do you think of Elias Ca?
18:00So,
18:02I did it to him
18:04on the sixth day
18:06of the attack on the Holy Father,
18:08at the San Pietro police station,
18:10Borgo,
18:12where I was taken into custody,
18:14after four days,
18:16five, they took him to
18:18Ponte Milvio,
18:20where Ponte Milvio
18:22was an outpost,
18:24then they brought him
18:26to Piazza del Vaticano,
18:28where there is a photo of him
18:30and you can see the dome,
18:32which is always that photo
18:34taken at that moment.
18:36Listen, but among the other crimes,
18:38in short, famous cases,
18:40I also saw the photo of Ghetti,
18:42of the young Ghetti,
18:44who was kidnapped in Rome.
18:46It was done by
18:48the Calabrians, they say.
18:50Did you see him?
18:52No, I didn't.
18:54I saw him in Piazza Navona,
18:56near the painters,
18:58Paul Ghetti,
19:00Junior,
19:02he was the most important
19:04billionaire, Ghetti.
19:08Once they kidnapped him,
19:10once they sent
19:12the ear to the messenger
19:14inside a bag,
19:16but the second time
19:18I sent him a message
19:20that I had for a while,
19:22which was answered by Angelo Frignani,
19:24that on the highway
19:26there is a bag,
19:28we went
19:30and together with
19:32Piernoli, I opened
19:34this bag, there are four
19:36Polaroids of Paul Ghetti
19:38kidnapped.
19:40Mamma mia, I cried,
19:42not for the ear,
19:44that if that material was mine,
19:46the moon would crash, mamma mia.
19:48Thank you,
19:50even Ghetti.
19:52It was war, what can I do, it's not my fault.
19:54And so
19:56it was the
19:58best scoop,
20:00and not only, we waited
20:02the night
20:04to publish it, not
20:06at the first edition,
20:08waiting for the Roman edition,
20:10we couldn't wait,
20:12it's clear, it's clear.
20:14Listen, tell me,
20:16now I'll tell you some names,
20:18you tell me immediately
20:20either an anecdote or
20:22what comes to mind,
20:24Sylvester Sallone.
20:26Nothing, he's a great character,
20:28his fault is to have
20:30the outline of an imbecile
20:32and bodyguard,
20:34they are the ones who provoke
20:36photographers,
20:38like a paparazzo.
20:40Have you ever photographed Sinner?
20:42Do you want to photograph him?
20:44Well, now it's worth it,
20:46now that it's worth it,
20:48rest assured that some night
20:50I'll drink him, hoping
20:52that he drinks a little more
20:54so I can take a picture
20:56of disbandment.
20:58Look, he comes right here from the parts of the DNA Cronos,
21:00he always goes to eat
21:02the carbonara from his friend,
21:04you have to pinch him there.
21:06Not only now,
21:08even at night.
21:10Footballers?
21:12Well, the footballers are the ones who are worth it,
21:14there is nothing to do,
21:16Totti, the way you do it, it works.
21:18After Totti, a great beautiful person,
21:20unfortunately, who found a wife,
21:22I don't know.
21:24Don't you like
21:26I don't like,
21:28but they have two children,
21:30they can't play.
21:32Three, three children.
21:34Sorry.
21:36Instead, you argued with De Rossi?
21:38With De Rossi, strange,
21:40but I photographed him
21:42in every way,
21:44he doesn't care
21:46if I take pictures of him,
21:48but lately, six months ago
21:50or five months ago,
21:52on the phone,
21:54he came to where I was
21:56to take a picture,
21:58but he didn't ask me,
22:00I saw him and photographed him,
22:02George Clooney,
22:04this is a wonderful photo.
22:06What else?
22:08No, he's kidding,
22:10a great person, a great man.
22:12He's the one who knows how to do it
22:14with photographers.
22:16This year, at the Venice Film Festival,
22:18he started taking pictures
22:20with all the photographers,
22:22even Brad Pitt was behind him,
22:24although he was brilliant and nice.
22:26What does it mean?
22:28That he's a real person?
22:30I don't know.
22:32What about your birthday?
22:34What's going on?
22:36Nothing, what's going on?
22:38Me and my wife,
22:40calm, and I'll apologize
22:42for the time I've lost
22:44because I wasn't with her.
22:46So it's always a penance.
22:48Hoping that nothing happens
22:50at that moment.
22:52If I get a call,
22:54I go to do the job,
22:56who cares.
22:58They call you,
23:00but I don't know if it's important.
23:02It's a photo that
23:04you have to talk to the
23:06chronicler,
23:08let's publish this poor photo.
23:10There are no more stories.
23:12There are no more stories.
23:14The truth doesn't come out anymore.
23:16But you've been around the world,
23:18haven't you?
23:20I've been to Calabria,
23:22I've been to Milan,
23:24I've been to China, Russia,
23:26I've been all over the world
23:28for exhibitions,
23:30to bring Italy into the world.
23:32And what was the best reception
23:34you've received?
23:36In China,
23:38all the students went crazy,
23:40there were more than
23:42150.
23:44No, no, there were those who translated,
23:46who were crazy.
23:48If you don't speak Italian,
23:50you can imagine.
23:52Let's talk about the presidents of the Council.
23:54The last ones.
23:56Draghi.
23:58Draghi,
24:00I can tell you that, in my opinion,
24:02he was one
24:04of the greatest,
24:06because he was known all over Europe,
24:08all over the world.
24:10Did you photograph him?
24:12With his wife, he was very kind.
24:14Monti?
24:16Monti was a bit sad,
24:18but
24:20it was a bit difficult.
24:22Renzi?
24:24Renzi was fantastic,
24:26I saw him yesterday in Corsa,
24:28beautiful photos,
24:30I asked myself, who the hell
24:32sells these photos?
24:34Letta?
24:36Giannaretti was my director of the time.
24:38He was,
24:40what can I tell you,
24:42he's the man of all seasons,
24:44he's the man who, in my opinion,
24:46could also be the President of the Republic.
24:48He agrees with everyone.
24:50There's an important endorsement,
24:52it's heavy.
24:56Giuseppe Conte?
24:58Conte is fantastic,
25:00because I photographed him
25:02with his wife.
25:04You know the father of the wife.
25:06Exclusively.
25:08And he's very kind,
25:10for example, one night,
25:12in the area of Prati,
25:14I don't say the street for safety reasons,
25:16he was in a restaurant with his son,
25:18he went out with his son,
25:20the President of the Council
25:22came to greet me,
25:24he said, good job, congratulations, and so on.
25:26These are gentlemen,
25:28because they know,
25:30the photo is history, my friends.
25:32Without a photo, it's a mess.
25:34And at this point, the question is,
25:36the current, the first woman
25:38President of the Council, Giorgia Meloni?
25:40For me,
25:42the scoop I would like to make,
25:44which is impossible,
25:46she would come back with her husband,
25:48with Gianbruno,
25:50because the family is sacred,
25:52respect, this poor woman
25:54works day and night.
25:56I would like to take that photo.
25:58It's a nice cover,
26:00three covers,
26:02even four.
26:04With a kiss, five.
26:06I would say that on this
26:08we can say goodbye.
26:10We can close, Rino,
26:12obviously, 80 years,
26:14I still have a lot of desire to take photos.
26:16Guys, what can I do?
26:20I'll try again,
26:22another ten years,
26:24I'll try.
26:26Great, thank you.
26:28Thank you, thank you all.
26:30In short, we have heard of all colors,
26:32Giorgio.
26:34We could continue
26:36to tell
26:38the times you did
26:40also some Marachella
26:42of Cronaca Nera,
26:44that when you went to the places
26:46of Cronaca Nera
26:48to take the photo
26:50and be the only one to have it,
26:52you did some cunning.
26:54Of course, what can you do?
26:56If you want
26:58an exclusive service,
27:00you have to invent something,
27:02or change the name
27:04where you go to look for a character,
27:06to that one you waste time
27:08and you can't speak,
27:10you put it in the newspaper
27:12and talk, talk, talk,
27:14already word and word,
27:16Mina already did it with Cosimo,
27:18with Alberto Lupo, guys.
27:20Okay, we thank you,
27:22another nice appointment
27:24here of DNA Kronos,
27:26we listened to the lively voice
27:28of Rino Barillari,
27:3080 years of photos,
27:32cunning, cunning.
27:34No, 64,
27:3680, the Madonna,
27:38thank you, thank you very much.
27:40Thank you all and thank you Rino Barillari.