In Episode 5 of “My First Film,” host Alec C. Cohen interviews Italian filmmaker Edoardo Vitaletti about the challenges and triumphs of creating his debut feature, “The Last Thing Mary Saw.” The episode dives deep into Edoardo’s creative process, how he approached making his first feature, and the lessons he learned along the way.

Vitaletti grew up in Monza, Italy, a town near Milan best known for its Formula One racetrack. Unlike many filmmakers, Edoardo didn’t have a childhood passion for cinema or photography. Instead, his early creative outlet was writing, a skill he nurtured from a young age through journaling and crafting short stories. It wasn’t until he was around 16 or 17 that he began to seriously consider filmmaking as a career, sparked by his frequent visits to a nearby Blockbuster. Curious about the possibilities, he started researching film schools and applied to NYU’s prestigious film program, where he was accepted through early decision. Moving to New York at 19, Edoardo immersed himself in his film studies and never looked back, eventually transitioning from a curious teenager into a director of his debut feature *The Last Thing Mary Saw* just a few years after picking up a camera for the first time.

One of the most pivotal moments in Edoardo’s career was when he decided to forgo his advanced thesis film at NYU and instead expand a short script into what would become his debut feature, “The Last Thing Mary Saw”. Typically, film students are encouraged to make a thesis film—a final project that demonstrates their growth as filmmakers and serves as their calling card in the industry. Edoardo, however, found himself dissatisfied with the short version of “Mary.” In the episode, he explains how the 22-page script felt like a larger story being compressed into something too small. He described it as offering “morsels” of an idea instead of a satisfying narrative meal.

A turning point came when a friend suggested he expand the story into a feature-length script and connect with a producer who might be interested in backing the project. It was an audacious move—Edoardo chose to drop out of his advanced thesis class and focus entirely on turning the short into a full-length film. Looking back, it’s clear the gamble paid off. The feature attracted interest from producers, and the final 85-page script became the foundation for the film.

Edoardo’s choice to bypass the traditional route of completing a thesis film is a lesson in trusting your instincts and taking risks when you believe in a project. Many filmmakers, particularly those still in school, feel pressure to follow conventional paths. Edoardo’s story shows that sometimes the best decisions are the ones that go against the grain. He saw the potential in his story and took a leap, which resulted in his first feature, which gained significant recognition and led to a distribution deal with Shudder and AMC.

Another crucial aspect of Edoardo’s filmmaking journey was how he carried himself on set. As a first-time feature director, there were countless challenges—from working on a limited budget to managing a tight shooting schedule. Yet, despite being only 23 years old at the time, Edoardo knew that his demeanor would set the tone for the entire crew.

In the episode, he reflects on the pressure of being a young director leading a crew of 60 people, many of whom had more industry experience. To combat feelings of insecurity, Edoardo made a point to project confidence, even if he didn’t always feel it. “As long as I’m standing, this movie will keep going,” he says, capturing the gravity of his role in keeping the production moving forward. His leadership was not just about making creative decisions but also about setting an example for the crew. If he stayed calm and focused, it would help everyone else remain steady, even during stressful moments.

One of the anecdotes he shared was how his appearance—having already lost his hair at a young age—unintentionally gave him a more seasoned look, which helped to project authority on set. While it may seem trivial, it underscores the idea that perception plays a big role in leadership. Edoardo embraced this, doing his best to maintain composure, even when the demands of the shoot became overwhelming.

This aspect of the interview offers invaluable insight for young filmmakers stepping into leadership roles. Directing a film isn’t just about creative vision—it’s about managing people and keeping morale high, even when the odds seem against you. Edoardo’s approach highlights the importance of projecting confidence, being decisive, and showing your team that you’re in control, even when stress is at its peak.

Perhaps the most unique and personal advice Edoardo shared during the interview was about his writing process and the importance of maintaining discipline. He advocates for a routine that involves cooking three meals a day as a way to break up the monotony of writing and give structure to the day.

For Edoardo, cooking serves as a tool to reset his mind and provide balance during intense writing periods. He explains that when writers isolate themselves in the process of creation, it can be easy to lose track of time and fall into unhealthy habits. Cooking not only forces a natural break in the day but also helps establish a sense of routine. As he puts it, “You have a schedule—this is a job, this is a profession.”

The act of cooking three meals a day may seem like a small or even unrelated task to filmmaking, but Edoardo insists it plays a vital role in maintaining productivity. It’s a way of treating writing like a job, with structured hours and regular breaks, rather than an endless stretch of time that blends together. This kind of discipline, he argues, helps give writers the respect they need for themselves and their craft, something that can be difficult to hold onto during long, lonely writing sessions.

He also highlights the physical and mental benefits of cooking your own meals—it’s cheaper, often healthier, and provides a tangible reward at regular intervals throughout the day. It’s a simple yet effective way to keep your body and mind sharp, which is especially important during the mentally taxing process of writing a screenplay.

Edoardo’s advice goes beyond the typical “just keep writing” mantra and offers a practical method for staying grounded and focused. By giving equal importance to taking care of one’s physical needs, he demonstrates that creativity and productivity are not mutually exclusive with self-care.

Edoardo Vitaletti’s story of making “The Last Thing Mary Saw” offers several valuable lessons for aspiring filmmakers. First, it highlights the importance of trusting your creative instincts and taking risks—even if that means abandoning traditional paths like a thesis film. Second, it underscores the role of leadership on set and the necessity of maintaining composure and confidence, particularly in the face of overwhelming challenges. Finally, his advice on maintaining discipline through daily routines, like cooking three meals a day, adds a refreshing perspective to the often chaotic world of writing and filmmaking.

For filmmakers at any stage, Edoardo’s journey is a reminder that success in the industry is not just about talent or vision but also about how you manage your time, lead others, and take care of yourself during the creative process. By staying true to his instincts, embracing the challenges of directing, and finding balance through everyday rituals, Edoardo carved out a path that led to the successful release of his first feature—proving that sometimes unconventional approaches yield the greatest rewards.

You can see more Edoardo’s work, including a request button for his short films, here: https://www.edoardovitaletti.com/

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