Devil’s Cry: An Interview with Michele Fraternali

Tell us about the projects you worked on before "Devil's Cry". How did you start and how did you learn to make films?

Before the "Devil's Cry" project, I mainly worked on video clips for my instrumental songs played only on bass. I handled the filming together with the videomaker Andrea Parolo, following a path dictated by instinct and by the images evoked by the music I had already composed and recorded. I started directing these video clips motivated by the need to make my music more accessible, in order to guide the listener in enjoying these works. I didn’t learn by following a specific course of study; instead, I relied on professionals and supervised all the projects until I felt there was coherence between the images, the music, and the meaning I wanted to convey.

Tell us about "Devil's Cry". How would you describe it?

"Devil's Cry" is a journey, both musical and spiritual. We can define it as both a musical short film and a videoclip for the entire third album "Devil's Cry." The story tells the artist’s journey: a series of challenges and encounters that lead the protagonist to confront the darkest sides of his soul. All of this is narrated by a soundtrack created using only the electric bass, with musical production handled by my brother Gabriele.

Tell us about your favorite directors.

I don’t have an absolute favorite director, but I definitely have a soft spot for Stanley Kubrick, Martin Scorsese, Sergio Leone, and the Wachowski sisters. For this project I was particularly inspired by the direction of the first Devil May Cry video game, directed by Hideki Kamiya.

If you were offered a good budget, what would be your ideal project?

I think I would develop another musical short film, still using the electric bass as the central element of the soundtrack. I would also make use of special effects and new technologies to give more space to the “fantasy” and “action” components, in addition to investing in the music production.

Describe how you would ensure that the production respects the expected timelines. What measures would you adopt?

I would personally supervise every aspect of the project with great care, delegating tasks to the most trusted and, of course, well-prepared collaborators.

What was the most difficult part of making "Devil's Cry"?

As for the visual component, the action scenes with the fire sword were definitely not easy, both during the shooting and in the editing phase. However, the most challenging part was composing the music for some scenes, such as the one inside the church and the ending. Step by step, together with my brother Gabriele, we managed to find solutions that best matched our artistic vision.

If possible, tell us about your next work. What are your plans for the future?

I have some ideas about the themes I would like to explore, a sort of sequel to the artist’s journey. I’m waiting for the official release of "Devil's Cry," scheduled for this fall, before focusing on new material.