Domenico Sica, born in Vallecrosia (IM) on January 31, 1962, has carved a remarkable niche in the world of set design and art direction over his illustrious career spanning more than 40 years. After graduating from the artistic high school and the Academy of Fine Arts in Rome, he embarked on his professional journey as a production designer in 1982. His early experiences were profoundly influenced by his studies in painting and photography, which shaped his artistic vision.
Sica’s career took flight alongside his mentor, the esteemed production designer Luciano Ricceri. Together, they collaborated on projects for renowned directors such as Liliana Cavani, Ettore Scola, and Federico Fellini, establishing a strong foundation in the cinematic arts. He also worked with and Giuliano Montaldo (“The Gold-Rimmed Glasses”). His transition to Art Director saw him working with cinematic giants like Bernardo Bertolucci (“Little Buddha”, “Stiling Beauty”), Jane Campion (“Portrait of Lady”), and Martin Scorsese (“Kundun”), collaborating whit oscar Designer Dante Ferretti, contributing to acclaimed films and commercials.
He notably collaborated as an art director on several films by Giuseppe Tornatore, such as “The Legend of 1900” and “Malena”, which were very significant. Among his notable achievements, Sica’s work on historical films like “Jesus” (Director: Roger Young), “The Young Messiah” (Director: Cyrus Nowrasteh”), and several others stands out, showcasing his ability to create immersive environments. He further honed his skills, leading to nominations for best art direction on several prestigious projects, including “Wonder Woman” (directed by Patty Jenkins) and “The Avengers.” (directed by Joss Whedon). He also collaborates on the TV series “LEONARDO” as a Production Designer (LUX VIDE production).
Between 2003 and 2005, Sica dedicated himself to the intricate Art Director Supervisor for HBO’s “ROME,” a project that earned him an Emmy Award for Outstanding Art Direction. His recent endeavors include the highly anticipated series “Il Turco,” produced by Ay Yapım (Karem Çatay, Suzan Güverte, Tamer Başaran, Barnabás Hutlassa, Hanga Kurucz), where he has once again demonstrated his exceptional talent as production designer. The screenplay is written by Kerem Deren and Çişil Hazal Tenim, while the direction is entrusted to Uluç Bayraktar. The project is distributed by the renowned Turkish production company Madd Entertainment. Notable names also stand out in the technical department: Carlo Poggioli (The Young Pope, The New Pope, Parthenope) for costumes. Dop by Tolga Kutluay.
Set in 1683 in Moena, “Il Turco” tells the story of Hasan (Can Yaman), an Ottoman janissary who manages to escape his death sentence during the Siege of Vienna. Wounded and on the run, he finds refuge in a small village in Trentino, where he is cared for by Gloria, played by Greta Ferro. An intense love story develops between the two, while Hasan finds himself fighting alongside the community against the fiscal oppressions and injustices that afflict the village.
“‘Il Turco’ was conceived from the beginning as a unique work; it was not intended to be a documentary about the history or legend of an elite warrior of the Ottoman Empire, but rather a film, a television series that tells a story—a glimpse into the life of a character, an Ottoman janissary during the Second Siege of Vienna,” Sica reflects. In his reflections about “Il Turco,” he emphasizes the significance of the scenography in conveying the emotional depth of the characters and the historical context. He describes it as “not merely a historical reconstruction, but a visual fairy tale.”
“I wanted to create a scenographic container that was not just a simple reconstruction based solely on perfect reproductions of historical environments, but an atmosphere that reflects the film’s narrative and interprets the empathy and character of the characters,” he adds. “The scenery acts as a container for a story and the characters who live and move within it, so it must reflect and exude through the walls, materials, colors, feelings, and sensations that the characters in the film experience.”
Sica also contributed to the preparatory phase of the “Sandokan” project during 2021-2022, showcasing his versatility and commitment to the craft. His recent work as Supervising Art Director for Disney+’s “Moon Knight” garnered a nomination from the Art Directors Guild, further solidifying his reputation in the industry.
The series “Il Turco,” premiering on April 2, represents an ambitious blend of reality and fantasy, achieved through careful material selection and elaborate visual design. The Korda Studios in Budapest serve as the backdrop for this artistic endeavor, where Sica’s dedication to storytelling through set design is vividly brought to life. “The entire set of the series was reconstructed at Korda Studios. The interior and exterior environments were built and the other scenes were filmed in important locations in Budapest and its surroundings, with scenic modifications made.”, he explains.
He emphasizes the role of color in enhancing the film’s narrative, stating, “In ‘Il Turco,’ I aimed to paint and create a color palette that reflected the characters’ traits, the city of Trento, the village of Moena, and Gloria’s house.” Trento is depicted with cool blues and grays, while Moena is characterized by warm tones, illustrating the emotional journey of the characters within the narrative.
“Lighting was created entirely from candles, torches, and braziers—this was the lighting of that era, and together with the director of photography Tolga Kutluay, we painted and recreated a magical light of great atmosphere, almost Caravaggesque,” Sica notes. He further explains that every aspect of design, from the materials to the colors, was meticulously chosen to evoke the story’s historical and emotional layers.
As we celebrate the release of “Il Turco,” we recognize Domenico Sica not only for his artistic contributions but also for his enduring passion for storytelling through visual art. His journey continues to inspire, and we eagerly anticipate his future projects that will undoubtedly leave a lasting impact on the world of cinema and television.
In conclusion, Sica’s innovative approach to scenography promises to captivate viewers, inviting them into a richly constructed world that mirrors the protagonist’s inner struggles and aspirations. With a talented team of creatives supporting his vision, Domenico Sica continues to redefine the boundaries of set design in contemporary storytelling, solidifying his legacy in the film industry.