Luca Caserta

He is the filmmaker of The Reach Dollar Baby film.

SKSM: Tell us about yourself, who is Luca Caserta and what do you do or have you done?

Luca Caserta: I’m an Italian director and screenwriter. I graduated from the Movie Academy of Cinecittà in Rome (Italy), where I studied under Carlo Lizzani and fellow renowned Italian masters. I also attended other film academies in Rome, including the Centro Sperimentale di Cinematografia, where I studied under the cinematographer Giuseppe Lanci. I’ve written and directed short films, medium-length films, and documentaries that have been screened and awarded at several international film festivals.

SKSM: How would you decide that shooting movies was your mission?

Luca Caserta: I grew up in the ‘80s, surrounded by stunning movies. Among them the Indiana Jones films, which fascinated me deeply and initially inspired me to become an archaeologist. So, after high school, I earned a degree in Prehistoric Archaeology. However, during my university years, I developed a strong passion for cinema and discovered arthouse films and many great auteurs: above all, Stanley Kubrick and his “2001: A Space Odyssey”. That film completely blew my mind and I decided that one day I would be a movie director.

SKSM: After writing and directing several plays, you finally decided to devote yourself exclusively to film. What motivated you to make this change?

Luca Caserta: I come from a theatre family (actors, directors, and writers) so I’ve been on stage and behind the scenes since I was a child. It felt completely natural for me to start my career as a director and playwright; I already knew the craft and what it demanded. Nevertheless, my fascination with cinema and the language of the camera was so strong that I eventually decided to move to Rome to study filmmaking, as I mentioned earlier.

SKSM: The Reach. What is it in the story that you liked so much to develop into a movie?

Luca Caserta: What drew me to “The Reach” was its overall atmosphere and the profound sense of isolation experienced by the Goat Island community, a place where the inhabitants share a strong bond and are used to relying on one another. The freezing winter, the iced-over sea, and all that snow are powerful visual elements that add a magical touch to the setting. I was also deeply captivated by the character of Stella and the journey she must choose to undertake, as well as the exploration of the connection between the human and the supernatural. I believe the story carries a subtle yet profound message about life and death. Its poetic and intimate narrative rhythm is truly enchanting, and I aimed to translate all of these elements into my adaptation.

SKSM: When did you make The Reach? Can you tell me a little about the production? How much did it cost? How long did it take to film it?

Luca Caserta: We shot the film over six days at the end of May 2024, mainly in Verona (Italy), with a crew of twelve people. We used a RED Komodo, for which I chose a set of vintage Zeiss lenses from the ’70s to achieve a soft and nostalgic film look. However, the full production process took several months of hard work, including screenwriting, pre-production, and post-production, which was done in Rome and involved many
collaborators. The final cost of the film was approximately $70,000. It’s produced and distributed by Nuove Officine Cinematografiche.

SKSM: Why did you choose The Reach and not, for example, another story?

Luca Caserta: Stephen King is best known for his horror and supernatural novels, but as all Constant Readers know, he has also written deeply sensitive and introspective stories. “The Reach” captivated me because it gently explores profound themes such as memory, roots, the succeeding generations, the inexorable passage of time, and love that transcends the boundaries of life, all wrapped in King’s signature paranormal touch.

SKSM: Can you tell us about your experience on this Dollar Baby film? Was everything planned ahead or did some things change during filming?

Luca Caserta: The Dollar Baby contract set out that you had one year to complete the movie. Once the document was signed, the countdown began. Moreover, since the program was shut down at the end of 2023, I knew that no extensions would be granted, so I put all my efforts into meeting the deadline. I was fully aware of what a huge opportunity this was and didn’t want to lose it. I was incredibly excited and honored to have the chance to adapt a story by one of the most talented and influential writers of our time. I grew up reading his books, and I’ve always had a deep love for them. As is often the case in film production, everything was meticulously planned during the pre-production months.

SKSM: Were there unexpected moments or difficulties during the making of the film that have become a new point of view?

Luca Caserta: You can bet! Despite everything being carefully planned, there were plenty of hitches before, during, and even after the shoot, challenges that I had to tackle as they arose. You have to be ready for the unexpected, since it’s always just around the corner on a film set. Being structured allows you to solve problems quickly and efficiently. That said, sometimes a problem can actually spark a creative idea that leads you to approach the filmmaking process from a new perspective, offering unpredictable solutions and outcomes. You have to stay clear-minded and ready to seize these moments when they appear, and turn them into opportunities for your film.

SKSM: What has this experience left you from a professional and human point of view?

Luca Caserta: Filmmaking is a craft where you learn something new every day. It’s a profession of constant growth, based not only on what you study but also on what you experience on set. It truly never stops, and that’s part of its charm. You meet many people on your path: some of them you’ll want to work with again, and they may even become trusted collaborators; others you might never see again. You work intensely side by side for a lot of hours for days, weeks, or even months. Some relationships evolve into strong bonds and real friendships. That’s exactly what happened on the set of “The Reach”, both with some of the actors and crew members. It’s a never-ending exploration of creativity, craftsmanship, mutual exchange, and human experience.

SKSM: Why do you think people like this story so much?

Luca Caserta: It’s a truly touching story that gently and poetically addresses deep, universal themes that people experience every day: love, life, death, and what remains after it. What, perhaps, may exist beyond it. These are subjects the human being has been grappling with since the dawn of time. Everyone can relate to them. I tried to translate these emotions into my film.

SKSM: You are the director, writer, and the editor, how did you experience that?

Luca Caserta: In Rome, I studied to become a filmmaker, learning several disciplines. This wasn’t the first time I took on multiple roles in a project. I’ve done the same in other short films of mine, to test my filmmaking skills and experiment with cinematic language. In “Tell Me Who I Am”, for example, I was the director, screenwriter, cinematographer, camera operator, and editor. So I’m quite used to it. It’s definitely demanding (you have to be really well-organized), but I believe it gives you greater creative freedom and control over the process. I’ve always thought of it as being like a singer-songwriter: it gives you a broader, more complete vision of the project. Of course, that’s not always possible, because every film is a different journey and cinema is a complex machine made up of many gears.

SKSM: How did you know about the Dollar Baby program? Was it a wild guess?

Luca Caserta: After the success of my previous short film “Tell Me Who I Am”, I spent a lot of time thinking about what my next project could be. One day, while doing some research online, I happened to come across an article about the Dollar Baby Program. I literally jumped out of my chair! I was amazed by the idea, and immediately started gathering information on how to be part of it. Soon after, I came across Anthony Northrup’s
“Dollar Baby: The Book”, which explores the program in depth. And so, here I am, talking with you about a film based on a short story by Stephen King, now also included in Northrup’s second book “Dollar Baby: The Sequel”, a wonderful anthology that dives into every aspect of the program. Life can be unpredictable… and truly amazing.

SKSM: Are there any easter eggs hidden in the film?

Luca Caserta: There are a few. In the funeral party scene, I included a line that Stella says (“Whether you want it or not, sometimes the past comes back on you…”) which closely echoes one from “The Green Mile” movie. I’ve always liked that line, and I think it fits perfectly with the themes of “The Reach”. Also, in one of the final scenes, I hid some subtle references to other King works in the news ticker at the bottom of the TV screen during the news broadcast. One of them is Derry, the fictional town in Maine that appears in some of his books, like “It”, “Insomnia”, and “11/22/63”.

SKSM: Can you tell us something about the filming process? What is easy or difficult? What did you have in mind?

Luca Caserta: Completing this movie was a real challenge, like pushing a boulder uphill. It was a fairly complex production, and I poured into it all my passion, energy, commitment, resources, and creativity in order to stay true to my vision. There were several slowdowns on set due to technical issues, which often forced the actors and me to wait a long time before actually being able to shoot some scenes. Because of that, I had to make quick decisions on the fly to stay on schedule. But, as I mentioned earlier, if you arrive on set well-prepared and can rely on the professional experience you’ve gained over the years, you can solve any issue, and sometimes even draw creative inspiration from it, which can actually benefit the film. I always step onto the set with a precise shooting script and the edit already clearly in mind. That way, I know exactly what shots and camera movements I need, and I’m able to adapt them on the spot if necessary.

SKSM: Can you share with us any significant moment or memories that happened on set?

Luca Caserta: We had some trouble with the two snow machines used in one of the final scenes of the film. We ran several tests weeks before the shoot to preview the effect and make sure everything would work properly on set. The tests went really well. The machines also worked perfectly during Stella’s dream scene. But the next day, when we were filming the final scene with all the ghosts, one of the two machines suddenly started malfunctioning for no apparent reason. We were stuck and couldn’t keep shooting. For a moment, we even joked that the machine might be cursed, especially since the house we were filming in has a rather strange history! Then, out of nowhere, it just started working again, and we were able to finish the scene.

SKSM: King’s original story is set on a cold island in Maine, but you moved the setting to warm Italy. What were the main challenges you had to face, both in terms of landscapes and especially in terms of weather?

Luca Caserta: You’re right! The film was shot mainly in Verona, my hometown, except for the opening scene, which was filmed with a drone over Venice Lido. It was quite challenging to find locations that felt consistent with the original setting. In adapting the story for the screen, I had to make some difficult choices in order to stay faithful to the source material while also being creative. I aimed for a hybrid style, crafting a sort of “non-place” that could blend Italian and American culture as seamlessly as possible. In my adaptation, the Reach that everyone talks about is intentionally shown only sparingly, becoming almost a supernatural presence looming over that small, self-sufficient community. As Hitchcock teaches us, a lot comes from what we don’t see rather than what we see. Another big challenge was indeed the weather: we filmed in late spring, while the story is actually set in autumn and, most importantly, during the coldest winter of the last fifty years. So we had to recreate those conditions from scratch. As I mentioned earlier, we had to simulate the snow with the machines in two scenes, requiring me to get creative during the screenplay writing, since it was impossible to shoot them as described in the original short story with the budget I had. We also added extra snow through VFX, as well as the actors’ breath. The final scene was actually shot earlier in the year: it was filmed in February in the Lessini Mountains above Verona, taking advantage of an unexpected snowfall.

SKSM: Where was it premiered and what were the reactions?

Luca Caserta: “The Reach” had its world premiere on May 19th, 2025, in the United Kingdom at the Carmarthen Bay Film Festival. It’s a prestigious BAFTA-qualifying event, and I’m truly honored to have been part of its official selection with my film. In all the screenings we’ve had so far, the movie has been warmly received. Viewers have found it intense and moving, and they’ve also praised the performances, particularly that of Jana Balkan, who plays the lead role of Stella. Many told me they appreciated the sensitivity with which I approached both the adaptation of the original story and the exploration of its themes.

SKSM: Music has a lot to do with a film. Can you talk about how you got Bruce Springsteen on board and how he approved one of his songs for The Reach?

Luca Caserta: The song is “Moonlight Motel” from the album “Western Stars”. I had it in mind from the very beginning, even while I was writing the screenplay. To me, it’s a song about love and what remains of it: memories, the passage of time, life itself, and the nostalgia for what once was and is no more. Its delicate, nostalgic melody and lyrics resonate deeply with the film’s themes, enhancing its emotional depth and adding new layers of meaning. As you can imagine, involving such a legendary artist as Bruce Springsteen was incredibly difficult. It took months of persistence and hard work, but I never gave up and in the end, it really happened. I had to submit a large amount of documentation about the project, along with a working copy of the film with the song already synchronized to the exact timecode. Then I waited. When the approval finally came through, I could hardly believe it. I’ve been a huge fan of Springsteen since I was a kid, growin’ up listening to his music. I love his songs, and having one of them in my film is truly a dream come true. I’m incredibly honored and I wish to thank Bruce Springsteen and everyone at Sony Music so deeply for making this extraordinary collaboration possible. That’s just another magic from “The Reach”.

SKSM: What do you think about the existence of a Dollar Baby community? Were you aware of this before?

Luca Caserta: I remember reading something about it years ago, especially about Oscar-nominated director Frank Darabont, who began his career precisely by adapting one of King’s short stories. But I wasn’t really aware of the whole project until I came across some information online in 2023. I think the Dollar Baby community is a gift not only for the filmmakers involved, but also for King’s fans, who can discover real gems born from
this program. Being part of it gives you an incredible sense of connection with other creators around the world. And being officially linked to King’s work and universe is a feeling that’s honestly hard to put into words. It’s a sorrow that such a special and outstanding program has come to an end, but, as we know, everything in this world comes to an end, no matter how beautiful. That’s why I’m even more grateful to be one of the last filmmakers who had the chance to be part of it.

SKSM: Production is over. Are there thoughts that make you think now, we could have done this differently?

Luca Caserta: I think every filmmaker would say that, yes, some things could have been done differently, but with hindsight, everyone’s an expert. As I mentioned earlier, even with strong planning and organization, the unpredictable is always just around the corner in filmmaking. What really makes the difference is the ability to tame the swaying anaconda, if we want to use a simile that paints the picture. As a director, you have to know when it’s time to call the film finished, because sometimes a filmmaker could keep going forever. Just think of how many versions of “Blade Runner” exist, which, by the way, is one of my all-time favorite movies.

SKSM: Were any movie fragments cut out that you now miss?

Luca Caserta: Not really. I shot the film with the editing process in mind, faithful to the script, so everything I filmed made it into the final cut. I was very intentional about what I captured, and I feel that every scene has its place in the finished product.

SKSM: What are you thinking of the end result of the film?

Luca Caserta: You know, before filming, a director visualizes and even edits the movie in his mind. But once you’re on set, many things can turn out differently from your original vision or new, unexpected ideas can emerge during shooting and end up in the final film. I’m truly satisfied with the end result, and I can say it’s very close to what I had envisioned. But once a film is finished, it no longer belongs only to the director, it also belongs to the audience.

SKSM: What was your main goal you wanted to achieve about this film?

Luca Caserta: “The Reach” is not an easy story to adapt for the screen, especially on a limited budget: there’s a lot of visual material to bring to life. I saw that as a challenge. My main goal was to stay faithful to the original story and preserve the core of its message, while also imprinting it with my own directorial vision. That required a lot of creativity. I’ve already mentioned the themes I believe “The Reach” conveys. But to me, the story also works as a metaphor for the delicate topic of end-of-life, and as a reflection on today’s climate upheavals, symbolized by the harshest frost in fifty years, a recurring element in the film. By exploring isolation, personal growth, and the courage to embrace change, “The Reach” resonates with universal human experiences. The border implies an inner conflict, its crossing marks a before and an after. What I really wanted to explore was what happens when someone stands right on that threshold. The stretch of sea that separates the island from the mainland becomes a metaphor for the passage between the world of the living and the world of the dead.

SKSM: Can you describe the feeling when the film was finished and how the film was received after viewing?

Luca Caserta: Since the production had been so demanding right up to the end, I felt genuinely proud to have completed it and was very pleased with the final result. I knew I had given it my all, and I felt like I had taken an important step forward in my filmmaking career. But the best was yet to come. I sent the finished movie to Stephen King, and to my great surprise, a few days later he personally wrote me an email with his feedback and
congratulations, referring to my film as a “lovely piece of work”. That was incredibly kind of him. It was a tremendous honor and a deeply rewarding moment that made all the effort and sacrifices worthwhile. I’ll always be grateful to him for giving me this amazing opportunity.

SKSM: Are you a Stephen King fan? If so, which are your favorite works and adaptations?

Luca Caserta: Yes, absolutely. I’ve been a fan since I was a kid: my first King book was actually the “Skeleton Crew” collection, which includes “The Reach”, that of course I love. It’s a really tough question, but some of my favorite King works include “It”, “11/22/63”, “Misery”, “The Green Mile”, “The Dark Half”, “The Mist” (also from “Skeleton Crew”), “Low Men in Yellow Coats” from “Hearts in Atlantis”, “The Body” and “Rita Hayworth and Shawshank Redemption” from “Different Seasons”, “The Road Virus Heads North” from “Everything’s Eventual”, and “The Things They Left Behind” from “Just After Sunset”. Though honestly, the list could go on. As for adaptations, some of my favorites (just to name a few) are “Stand by Me”, “The Shawshank Redemption”, “Misery”, “The Green Mile”, “Hearts in Atlantis”, and “The Mist”.

SKSM: If you could produce or direct another Stephen King story into a (short-)movie, what would it be and why?

Luca Caserta: This is a truly difficult choice! There are so many novels and short stories by Stephen King that I’d love to adapt and direct. But if I had to choose just one, I’d probably say “Roadwork”. On the surface, it may not seem like a horror story, but to me, it’s a dramatic portrayal of the everyday horror a person may have to face after tragic events that loom over him and that set is mind adrift. Even though it was written more than
forty years ago, “Roadwork” feels incredibly relevant today: it’s a metaphor about an evil and corrupt society toward which someone could sometimes feel anger. There’s a strong undercurrent of social rage throughout the novel, but at its heart, I believe it’s a story about the search for meaning in pain. I absolutely loved it.

SKSM: What do you think of Stephen King as a writer?

Luca Caserta: He’s a genius! He’s so incredibly prolific and talented that he has managed to create masterpieces across different genres. I think that in the stories which deal with adolescence (like “It”, “The Body”, or “Low Men in Yellow Coats”), he has the magic to instill a subtle yet persistent nostalgic melancholy that’s deeply moving. It’s that same feeling you get when looking back on your own adolescence as an adult. I also love the fact that, at the beginning of his career, he was so productive he had to write under a pseudonym (Richard Bachman), and for years no one knew it was actually Stephen King behind the name! He has had, and continues to have, a truly powerful impact on pop culture, literature, cinema, and the arts in general. His universe is so vast, rich, and layered that you can easily get lost in it.

SKSM: Tell us about your other films. I saw your Dimmi Chi Sono short film that garnered an astounding 181 awards in several categories in the film festivals all around the world. Well, that’s a very interesting number of prizes, no doubt. Sincerely, I just watched The Reach and I wouldn’t be surprised if it won so many awards like Dimmi Chi Sono because you all did such a great job.

Luca Caserta: The journey of “Tell Me Who I Am” was truly amazing and incredibly rewarding. The film brought me so much satisfaction. Its reputation spread worldwide, and it represents an important milestone in my career. The story follows a woman who loses her memory after a rape, and it addresses powerful and deeply relevant themes such as memory loss, violence against women, and the search for own identity and lost dignity. Among my other films is “Inside the Mirror”, whose editing supervision was entrusted to Ugo De Rossi, editor for masters such as Fellini, Pasolini, Bertolucci, Petri, and Rosi. This film, together with the following “Out of the Depths” and “The Other Side of the Moon”, forms a trilogy that explores duality and the hidden depths of the human soul. I also created an experimental documentary that is particularly close to my heart: “The Canvas Forge”, which focuses on the birth of a painting and the craftsmanship behind it. All these films are available on the Nuove Officine Cinematografiche YouTube channel.

SKSM: What are you working on nowadays?

Luca Caserta: I’ve just completed the post-production of a new documentary I care deeply about. I carried the project forward over several years, as the production went through many challenges, including numerous false starts and interruptions. Eventually, the right circumstances aligned, allowing me to finally finish the film. It’s titled “Mariska” and tells the true story of Leda Azzalini, a nearly 100-year-old Italian partisan who, at just
18, fought against Nazi-Fascism during World War II on the Cansiglio Plateau. Hers is a powerful and moving testimony of what motivated a young girl to risk everything for freedom. She is one of the last living Italian partisans, and after the war, she was awarded high honors for her bravery. When I filmed her, it was the first time she had ever given a public interview, which made the experience all the more intense. “Mariska” has not yet been released, and I’m really curious about how it will be received.

SKSM: What is in the top 5 on your bucket list? (Everything is possible and nothing is too strange)

Luca Caserta: A point-blank question! Well, first of all, I’d love to develop “The Reach” into a feature film. Then, I’d definitely want to direct an amazing fantasy feature I wrote titled “The Incredible Journey of Princess Rolanda”, based on an original play of mine from many years ago: I’m sure it would be a blockbuster! I’d also love to visit Japan, be able to travel back and forth in time (why not?), and, last but not least, finally meet Stephen King and Bruce Springsteen in person!

SKSM: What is one thing people would be surprised to know about you?

Luca Caserta: I’ve mentioned it earlier, but people are often surprised to learn that I also have a degree in Prehistoric Archaeology, which I earned before fully diving into the arts. It comes from a very different chapter of my life, but I’m truly happy about it: I feel it adds another layer to who I am and somehow completes me.

SKSM: Where do you see yourself in 5 years?

Luca Caserta: Future is a blank page. In five years, I see myself fully immersed in storytelling. I’d love to be working on projects that challenge me artistically, possibly with international collaborations, and with stories that leave a meaningful mark on audiences. I hope to have the chance to keep exploring both fiction and documentary filmmaking. Above all, I want to continue growing as an artist and as a human being, because the two, for
me, always go hand in hand.

SKSM: Thank you for taking the time for the interview. Would you like to say something to those reading the interview?

Luca Caserta: Believe strongly in your dreams, never give up, and share your passion with the world. There’s a quote by St. Augustine that I truly admire: “Love and do what you will”.

SKSM: Do you like to add anything else?

Luca Caserta: At the Movie Academy of Cinecittà, the Italian master Pupi Avati once told us, “One must love cinema deeply, so that cinema can return that love”. And my passion for the Seventh Art is immense and never-ending.